Chris Smith
Forum Replies Created
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Wire removal is easy, because a wire removal tool just “stitches” the 2 sides of the wire together for you. In AE there is the free plug -in ‘simple wire removal’. Just set it’s points over the wire or hair and play with the thickness setting till it dissapears.
My favorite wire removel tool is in Commotion.
Chris Smith
https://www.sugarfilmproduction.com -
I don’t know MC, but in DS, I export video as quicktime (animation codec). But set the setting to ‘graphics’ mode because Animation is an RGB codec. Set it to ‘video’ mode if the codec you render to is YUV.
Same deal with import.
Chris Smith
https://www.sugarfilmproduction.com -
You mean the AE camera, yes? Yeah, just turn on motion blur. In the composite settings you can set it higher than the 180 degree of a normal film gate, but 180 is usually plenty unless you are going for a non-natuaral extreme look.
Chris Smith
https://www.sugarfilmproduction.com -
I use both. To me working with a masked duplicate and using a selection in C is about equal efforts and render time.
I actually prefer the duplicate method because then the duplicate has a whole entire layer of control like track mattes, position, etc…
Chris Smith
https://www.sugarfilmproduction.com -
That’s how I always done it. The only diff is sometimes I roll the cams at 24fps to save film so there’s a 3:2 pulldown. If that’s the case, then make sure when your stuff is compressed to Mpeg2 that the settings are on ‘lower’ or ‘bottom’ first. If set on auto it may pick the wrong order. I got bit once from this.
Ppl would tell me my reel was jumpy on certain spots. I didn’t see it because I played the DVD in a laptop which is always progressive.
But on a real TV, some spots indeed would jerk. I noticed the spots that jerked were shot 24 instead of 30. Which means that because of 3:2 pulldown I had some split frames. I realised the field order was opposite going to DVD. So in whole frames you don’t notice it, but in the split frames, time was backwards.
so that’s a gotcha.
Chris Smith
https://www.sugarfilmproduction.com -
At the risk of sounding obvious, the best training for me, is the manual. It tells you in the most efficient way how to do do what you need.
Then get “Creating motion graphics” to learn the “why”.
Chris Smith
https://www.sugarfilmproduction.com -
Is there a quicktime of it? Hard to tell from a still image. From the still image it looks like my illustrator rays.
Chris Smith
https://www.sugarfilmproduction.com -
Try parenting the cam to a null, then rotate the null 90 degrees so the cam moves on the XZ plane.
Chris Smith
https://www.sugarfilmproduction.com -
You can copy masks and paste them into position parameters so your camera moves along a path. Furthermore you can turn on align to path for the cam.
Also use roving keyframes. So that the keys between thne end keys rove in time automatically to keep the motion smooth and constant rather than speed/slowing where not wanted.
For details on any of this check your manual or help files.
Chris Smith
https://www.sugarfilmproduction.com -
Make your life a lot easier and turn off the align to point of interst first. Second break up your primary movements into layers using nulls so everything is seperate.
So one null only moves on the X/Y plane. That’s it. No rotations at all.
Parent a null to this null then make this the rotations to point the camera.
keep parenting nulls to each other in a chain for each new “layer” of motion you want to do
Lastly parent the camera to the end of the chain.That way if you screw up one thing, you haven’t changed the other things. Much easier and more organized this way.
Chris Smith
https://www.sugarfilmproduction.com