Chris Smith
Forum Replies Created
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This was done in 3D other than the band footage which was shot and match with the angle. Then the 3D camera flew around the world at it’s leisure as long as it didn’t give away the band were flat planes.
Just create a large plane object. Populate it with flat cacti. You can do this pretty easily with particle systems. Then model the truck and have it move quickly across the plane. Make sure to use the fence and stripes in the road for they give away the motion. Also they set a procedural vibrate on the camera it looks like which also makes things seem way faster.
Use a wide lens like the cam and things close will seem to truck along in the immediate FG. Then create a huge sphere and map your sky to it for the Distant BG so that it rotates correctly with the cam.
Chris Smith
https://www.sugarfilmproduction.com -
The easist way to make anything orbit anything is to parent to that object. Then offset the position of the “satellite” and rotate the center object.
So let’s say your screens are the SUN. Your camera is the EARTH.
Create a null place that null at the center of the screens.
Create a camera. Parent that to the null. Now move the camera into position to frame the screens the way you like. Now rotate the null and the camera will orbit it.If you want to change the axis, then move the null as it is the center axis.
Chris Smith
https://www.sugarfilmproduction.com -
They’re free. You can do a quick d/l and check it out.
Chris Smith
https://www.sugarfilmproduction.com -
My guess is the extremely common problem of YUV to RGB to YUV conversions.
Search the Cow archives or look on the net into how to deal with the color space changes appropriately.
FCP CAN work in RGB if forced to, but almost all video codecs are YUV. AE only works in RGB space. So your video if not converted correctly will look washy or contrasty.
Chris Smith
https://www.sugarfilmproduction.com -
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Really these are C4D Cow questions. But if you want the POI for the cam, create a null. Stick a ‘target’ tag on the camera and drag the null to the target box. Now the cam will aim at that null.
Don’t understand your 2nd question other than saying just go to the render window where there are all your options.
I’d spend time going thru the entire manual. It only takes about 4 or 5 good days and then you’ll know it in and out. It’s incredibly simple and powerful.
Chris Smith
https://www.sugarfilmproduction.com -
On the gradient, make it so the change from black to white is tiny. So most of the graph is black, then a tiny change to full white, then the rest white.
Crank up the turbulence on the grad too so it’s a cloudy looking edge.
Chris Smith
https://www.sugarfilmproduction.com -
Also, there is a ‘fresnel’ button in the transparency channel next to the ‘refraction’. I’d turn that on, it looks better and more realistic. Since your shield is “Glowy”, I’d also turn on ‘additive’ there in the same window.
Then turn on the glow channel and set the threshold and color right. You’ll see the shield effect starting to take shape. Once again, it’s how you animate the parts to give a good result.
Chris Smith
https://www.sugarfilmproduction.com -
Okay, now i’m in front of C4D:
On your Sphere texture, turn on the transparency channel and set the ‘Refraction’ setting higher than 1. 1 does no distortion but higher numbers give a different index.
Now, the texture here is how much transparency is on any given part of the model. You may want to stick an animated gradient or fresnel effect on it.
BUT for the actual ripples, turn on the bump map. In that, select the noise shader.
Now render. You should see a ripple surface that distorts the interior like water does. This is the primary key here. From here on, it’s what effects you want to add and how you want to mask it and animate it using the shaders.
Chris Smith
https://www.sugarfilmproduction.com -
yeah. amongst other ways. But these are good paths to try first.
Chris Smith
https://www.sugarfilmproduction.com