Chris Smith
Forum Replies Created
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True. However, my personal taste is to keep the tracking data on then null so you can easily just shift the mask layer and it will still ride along relative to the track point. If you copy the data, then it is always absolute position. I don’t like adjustment layers because they effect all the layers underneath. I like independant control. So in the end either will work. I’d rather a few more steps and keep total flexibility.
Chris Smith
https://www.sugarfilmproduction.com -
Would Trapcode’s “Lux” not apply here as well? Especially for volumetric.
Chris Smith
https://www.sugarfilmproduction.com -
Take you track data and apply it to a null layer. Create a solid layer. On this solid, use the elliptical tool and create a circle the size and dimensions you want the face blur. Duplicate your original video layer. On the duplicate (top layer). Add a gaussian blur. Crank it up till the face is obscured the way you want. Now take the solid/mask layer and put it right on top of this duplicate. Set the duplicate/blurred layer’s track matte to ‘alpha’ so it will use the alpha channel from the mask layer above it. This way you should see a blurred circle area on your image. Now go to the first frame in the timeline. Grab the circle mask layer and move it till you see the blurred area over the face. Now lastly, parent the circle/mask layer to the null layer (that had the track data). The circle should ride along with the face (assuming you did a good track).
Chris Smith
https://www.sugarfilmproduction.com -
lots of folks use QT Animation. Never use use a DV/DVC codec unless you WANT to degrade the image.
Chris Smith
https://www.sugarfilmproduction.com -
Why red out of curiousity? I know sometimes they will do orange trackers when on a green/blue screen. But for everyday use, like the others say, just get good contrast. In most situations ppl track by luminance. So assuming the pictures are dark, white dots do very well. However I’d like to say the easiest solution is probably to track the outside corners of the picture frame itself. No markers to add or digitaly remove.
If your pictures are behind glass by chance, remeber to try and isolate the sheen and comp it back on top of the picture you added in for extra realism.
Chris Smith
https://www.sugarfilmproduction.com -
Try this:
Create a solid. Use the pen tool. Create a stright line using 3 points evenly spaced. Press ‘mm’ and the mask properties will twirl down. Turn on keyframing on the ‘mask shape’ parameter. Move your time indictor forward in time a little. Now use the arrow tool and grab the middle point of the line and raise it up. Now use the poiny thing as part of the pen tools options so you can reshape the line using bezier handles to make a nice arc. Move the time indicator foward in time a little more. Now put the middle point back to in line with the other two. Reshape till you have a straight line again. Now go to Effects>Render>stroke. A stroke will be painted over your mask. Now hit (num pad enter) to do a RAM preview and see the simple animation. Now go from there.
Chris Smith
https://www.sugarfilmproduction.com -
I’m sure you are correct. I seem to remember sweeping through a color picker in PS and a little warning symbol would go on at different points of the picker when colors were not NTSC compatible. I seem to recall that these points weren’t at any luminance or saturation limits but were specific colors that NTSC will not reproduce. If this is the case it seems to warrant a pallete isolating the good colors. If this is not the case and NTSC can handle ALL colors except those that exceed saturation or luminance boundries, then yes just scopes/video limiters is all you would need.
Chris Smith
https://www.sugarfilmproduction.com -
But, I think there is a difference between safe upper and lower limits for broadcast/video and a true pallette of NTSC safe colors. The scopes will just protect the top and low ends I think and not analyze the entire spectrum unless the saturation gets out of hand.
In that case is there not a pre-made pallette from someone? If it is just the limits you seek, then I would think just let the designers do what they want as long as they are watching it on an NTSC monitor at the same time, then limit their video when they’re done.
Chris Smith
https://www.sugarfilmproduction.com -
Yes! AE will import .ma files. It’s too much for me to explain here from scratch, but search the Cow archives and google for the details of getting an .ma into AE.
What you will want to do in Maya is point constrain a null to your moving object. Then bake the keyframes of that null. Then rename the null “null_particles” so AE will create it’s own null to match the movements. You just need to stick to the naming convention “null_***”. This way AE will create it’s own null to match.
Then in AE you can link the position of the null to the position of the Particular emitter.
Chris Smith
https://www.sugarfilmproduction.com -
What I do to simulate it is duplicate the layer, garbage mask the problem area. on the dup, blur it heavily or use a median filter so the problem gets blurred out and the color of the surrounding area is more prominant. Then try either the ‘lighten’ transfer mode or the ‘darken’ transfer mode on the top layer – depends if the offensive thing is darker or lighter than the surrounding area. If you get it rights, only the offensive part will be replaced with the color of the BG.
Chris Smith
https://www.sugarfilmproduction.com