Chris Smith
Forum Replies Created
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There are many times a 2D tracker does the job just right. The problem is that AE’s tracker isn’t really good. It’s incredibly shaky. I still use that old program Commotion to get a good track and paste the keys back in AE. So needing a 3D tracker isn’t necessariy the solution.
But 3D trackers take a lot of time to analyze a shot (a lot more than a 2D tracker anyways). But once they have a good track, they are many times dead on rock solid in 3 dimensions. I haven’t used boujou but I’ve used Icarus (PFTrack before it was PFTrack).
It had a direct AE export. So does Synth Eyes. So I can’t help but think all 3D trackers have a form of direct AE export.
Chris Smith
https://www.sugarfilmproduction.com -
Use the arrow tool and double click the edge of your mask. It will change to a bounding box where you can scale or rotate your mask. You’ll see the mask then does have it’s own anchor point which you can move. Obviously use the ‘mask shape’ parameter to keyframe the changes you make to animate the mask.
Or you can use the layer’s scale function. Then where the mask is relative to the anchor point of the layer depends how it scales and rotates.
Chris Smith
https://www.sugarfilmproduction.com -
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It may be better to tell us your end goal. Do you want to keep the sheen off the glass, or are you trying to get a reflection?
If you want a reflection, don’t need the glass. Shoot whatever you want the reflection to be and map it where the key will be and drop the opacity. You will want to distort the image though. Also if your camera rotates around the window it may give away the reflection doesn’t move correctly. You can animate the reflection to move opposite from your camera move to give the illusion though.
If you just want the sheen and light reflections, then put glass over your key. You only need a key to get good edges so the midle doesn’t matter. After you get your key, use that key to isolate the original footage. Turn it greyscale and play with levels and transfer modes to map your reflections and light hits back onto whatever you comped in.
Chris Smith
https://www.sugarfilmproduction.com -
This may seem odd, but have you tried changing the Maya units? Maybe there is a Maya unit other than the default that is numerically compatible with AE’s scale.
When I do a .ma into AE, the scale is always way off like a factor of 100. So I imagine that coming from AE to Maya and back there has to be weirdness.
If you can find a unit in Maya that doesn’t need conversion into AE, it may things go smoother. Just a random thought.
Chris Smith
https://www.sugarfilmproduction.com -
It looks like scanned or photgraphed paper grocery bag for the texture. Then yeah, smears of color which I imagine you could do by scanning or photographing watercolor and transfer moding that on top. Or maybe just do multiple grad effects over the paper texture. Then lay in some hand drawn city elements as well.
I’m interested in how they did the texures in Maya. If I had to guess, most of it was hand drawn scans that were UV texture mapped onto the models. Then the outline and cel like specular highlights came from the Maya Vector renderer.
Chris Smith
https://www.sugarfilmproduction.com -
Hey Jason,
There maybe some techniques in this tutorial that would help:
Chris Smith
https://www.sugarfilmproduction.com -
If you check the archives from the past few years there should be tons of advice.
Chris Smith
https://www.sugarfilmproduction.com -