Chris Smith
Forum Replies Created
-
A Pan-Arri package can do 190 fps. A regular Arri III will do 150 fps. These are pretty cheap. They’re loud as hell though.
Chris Smith
https://www.sugarfilmproduction.com -
The units are just that different. We’ve talked about this a few times in past threads so search the archives to see more info. I think that if you change the Maya units before saving the .ma to one of the other units, it matches up or is at least a lot closer to AEs.
Chris Smith
https://www.sugarfilmproduction.com -
The units are just that different. We’ve talked about this a few times in past threads so search the archives to see more info. I think that if you change the Maya units before saving the .ma to one of the other units, it matches up or is at least a lot closer to AEs.
Chris Smith
https://www.sugarfilmproduction.com -
Well, you will want to isolate areas of each shot to color separately and then color the image as a whole.
For isolating areas:
Remove your spotlight. Duplicate your footage. On the duplicate, use a mask to isolate an area you want to change (like maybe add more “light” on the key person. Or maybe you want to darken the sky. Put a matte around the are want, then feather the matte a LOT. Now add your favorite color correction method here (like CF, or curves or a levels and hue/sat) Adjust them and you will see the area you isolated start to change. Be subtle because tweaking areas to extreme can become fake quickly.
Now add an adjustment layer over the two layers. Now color correct both layers together. First of all it looks like your balcks aren’t touching blacks. Use levels to bring in the blacks till they are are at RGB 0. Then move your gamma to the right to darken the image a bit. This will give a nice richer tone to the image.
Chris Smith
https://www.sugarfilmproduction.com -
Set up a glass in front of a piece of black in a shot. Pour milk into the glass. Import the footage. Pull out any color. Crush the levels so you get a good matte. Use this matte multiplied with the text matte to create a end matte to use on any color or clip you want.
Chris Smith
https://www.sugarfilmproduction.com -
Put one layer on top of the other. On the top layer use your favorite method of making the opacity turn on and off every other frame. Like a simple expression.
Or create a 2 frame comp. One frame is white, the other frame is black. Render this out and bring it back in. Set it to loop. Use it as a luma matte on the top layer.
Chris Smith
https://www.sugarfilmproduction.com -
Put one layer on top of the other. On the top layer use your favorite method of making the opacity turn on and off every other frame. Like a simple expression.
Or create a 2 frame comp. One frame is white, the other frame is black. Render this out and bring it back in. Set it to loop. Use it as a luma matte on the top layer.
Chris Smith
https://www.sugarfilmproduction.com -
Not sure about the version you have. But on the standard upgrade or full install disc there is a folder called Cycore. Once installed it adds (i’m guessing) about 30 some-odd effects to AE. They all have the prefix “CC”. CC Cylinder does exactly what you’re wanting.
Chris Smith
https://www.sugarfilmproduction.com -
Set up your camera in a close macro shot of the eye. Then pull the camera back to reveal the face. Reverse this footage. Scale down your next scene so it fits whithin the eye. Use a circle/oval mask to confine it to the eye. Motion track this to the eye. Use a SCREEN transfer mode on it until the scene is almost fully zoomed in. Then blended it to a layer in normal transfer mode.
At the point that the eye is at it’s closest point in the cam move, you will have to animate the scale up to compensate for it. Turn on motion blur and you won’t notice the zoom up for the few frames till it blends 100% to the next shot at full frame.
Chris Smith
https://www.sugarfilmproduction.com -
Just use CC Cylinder. It’s came with AE 6.5 and 7.0.
Chris Smith
https://www.sugarfilmproduction.com