Chris Smith
Forum Replies Created
-
That’s how you do it. Make sure it’s for the right version of AE. Meaning if you are using 6.5 you may have an After Effects 6 folder or 5.5 that is separate. Or the plug-in is not compatible. Or it is not registered and not functioning because of that.
Chris Smith
https://www.sugarfilmproduction.com -
I don’t understand why you would want to timewarp something that you animated in the first place. Why not just change the timing of the camera in comp1?
Chris Smith
https://www.sugarfilmproduction.com -
Yeah, I have to put it behind of a long list of stuff I have to do. Post what you do with that if you get something going. What software do you use? I have the canon software that came with the cam. I messed with it once but haven’t played with it since. I assume you can set it to auto capture at a specific interval.
Chris Smith
https://www.sugarfilmproduction.com -
My quicktime isn’t seeing the codec you made the QT in. I assume you encode it on a PC? Maybe make it a cross platform codec like Sorenson.
The particles in Maya may be easier. If you parent an emitter to one of the bones in your elephants trunk, and set the emitter to directional. Then it shouldn’t be too hard. Just tweak the parameters to get the spray jet you want. If you are doing paint, set the particle type to ‘blobby(SW)’. Then set the blobby threshold till it clumps like paint. Then you can apply a material to the particles. The material make shiny so it looks like paint.
But if you want the particles to stick to the wall then set the particles collision properties. So select the wall and the particles and select ‘make collide’ . But then set the collide properties of the wall. So that when they hit it, they lose all their dynamic forces (meaning they stick where they hit). Or you can add a touch of gravity so it looks like they are smearing down the wall.
Chris Smith
https://www.sugarfilmproduction.com -
Like the Great one I do not dabble in expressions much in AE. However, Why not take what you have so far but use a null instead of your pedal. The null will rotate, but then pick whip the null position ONLY to the pedal position. That way if the pedal is facing up it has no reason to rotate. Only the position from the null will move the pedal.
Chris Smith
https://www.sugarfilmproduction.com -
Like the Great one I do not dabble in expressions much in AE. However, Why not take what you have so far but use a null instead of your pedal. The null will rotate, but then pick whip the null position ONLY to the pedal position. That way if the pedal is facing up it has no reason to rotate. Only the position from the null will move the pedal.
Chris Smith
https://www.sugarfilmproduction.com -
[Nicholastoth] “– if you have a digital camera and the proper software you can do timelapse image sequences right to a laptop.”
Brilliant! I hadn’t thought of that. I do for fun ugly timelapse by grabbing a frame every 10 seconds or so from a DV cam into a laptop, but I hadn’t thought of doing gorgeous film-like timelapse by controlling my 20D with a slow shutter.
Very nice.
Chris Smith
https://www.sugarfilmproduction.com -
I don’t think it’s a 3D cam because I’m not seeing any physical movement through the perceived space. I really think it’s as simple as 2 high res images, one of the plains/ppl and one of the City. They could be added together in a high res comp. Using careful masking you marry the city photo behind the plains photo so the edges look nice. Now add a Gaussian blur to the front layer (plains) and over a few seconds ramp the blur up.
Now take this high res comp and drop it into your main normal res comp. Scale the high res comp down a bit and repo it so you see mostly the plains on the left side of the comp. Now animate the comp to move from left to right and to scale up. This mixed with the gaussian blur simulating a depth of field change should simulate Belief’s version quite nicely me thinks.
Chris Smith
https://www.sugarfilmproduction.com -
You will need to duplicate the footage that is place onto the screen as many times as there are plasma screens. Then do a seperate 4 corner track for each layer. If you apply the data for another track to the same layer it will just override the original position keyframes that you originally applied from the first track.
Chris Smith
https://www.sugarfilmproduction.com -
Definately peep the archives because this has been talked about a bit albeit a while ago now so check the last year or two. I assume you are shooting it digital and want to do it as a post effect? I’ve always done it the ol’ fashinoed way by hooking up an intervelometer to an old Arri 35III which I find easier than doing it the other way around. But to each his/her own.
But search the archives for strek, time lapse, etc.. should find some good ideas.
Chris Smith
https://www.sugarfilmproduction.com