Chris Smith
Forum Replies Created
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If your talking about the ol’ moving light source “sheen” effect that one thinks of with corporate logos, there are two simple methods:
1. One use CC Lightsweep. Built into AE 6 and 6.5.
2. Or duplicate your logo, on the top dup, cretae a tall rectangular mask that is about half a letter wide. Feather it heavily. Animate it across your logo. So in the end your getting a chunk of blurred logo revealing across the length lf the words. Then on this duplicicate, set it to ADD transfer mode.
If you want to modify it from there, you can add a levels and make it more intense, or color tools to change the hue/tint, etc..
Chris Smith
https://www.sugarfilmproduction.com -
I would say the AE manual first. Then volume 1 then 2 😉
Chris Smith
https://www.sugarfilmproduction.com -
I’m glad someone took the joke and ran with it. It was left wide open and you hit it home 🙂
Chris Smith
https://www.sugarfilmproduction.com -
If you have thinking particles, use the pSurface node to generate partcles all over the surface (your filed shape). Then use the pShape node to instance the blade polygon shape to each particle. Do some random scale, and rotations and viola.
Then you can create custom user sliders for things like density, and randomness of scale.
Or if you have the Jenna plugs, you can use the mesharray plug.
Chris Smith
https://www.sugarfilmproduction.com -
This should answer your question. Replace keyframing with expressions.
Sigh. Sometimes I feel my job here is to just search the archives 😉
Chris Smith
https://www.sugarfilmproduction.com -
This should answer your question. Replace keyframing with expressions.
Sigh. Sometimes I feel my job here is to just search the archives 😉
Chris Smith
https://www.sugarfilmproduction.com -
[thehardmenpath] “Don’t you think the lost logo is technically horrible?”
Glad you said that. Everytime I’m supposed to be “Creeped out” from the events just before the logo hits, I’m put off by staring at the low res polygons on the title. Such a huge show and no one ever thought, “Hey, lets re-render this with more than 6 polys that make up each letter”.
I tend to think they added the DOF to cover up the low-res render. I wonder how many 3D artists rebuilt it in high-res and offer it to them as charity.
To me though It doesn’t seem like DOF but animating a Gauss blur in and out. I’d have to look at it frame by frame. Don’t remember if you ever see more blur on one letter more than another.
To the original poster: Yeah it can be done in AE with Invig, but I’d tend to just do it in a 3D app like it was really done. Just set your tesselation higher if using SubD or NURBS. Or have enuff freakin polys to make up the edges 🙂
Chris Smith
https://www.sugarfilmproduction.com -
If I was you, I’d go for Symphony. AE still does not have real video color correction tools. It offers Color Finesse as a plug-in but the way it’s implemented makes it almost useless. I would have the cut in Symphony and use it’s color corrector on each shot. Way faster and more accurate. Not too familiar with Symphony workflow, but in DS (same color corrector) you can pipe a matte node into a color correct node and make power windows, and you can pipe a keyer into a CC node to get secondary color correction).
Still hoping for the day AE has a color correction solution that isn’t a rig.
Chris Smith
https://www.sugarfilmproduction.com