Craig Whitaker
Forum Replies Created
-
You could try placing them all under a fracture object to make them mographable. Then above, setup a matrix object with a similar amount of objects. Using an inheritance effector, you could then animate them from the matrix offscreen to the final (in this case initial) resting place.
Craig Whitaker
Digital Design Director
Assembly
161 Leverington Avenue Suite 1002
Philadelphia, PA 19127
O: 215-487-2060
craig@assemblypix.com -
We have a brand new 27″ iMac in the office, and I also have my 12 core Mac Pro in my room. Don’t get me wrong, the iMac is great and in use most days during the week. But when I have to render either from C4D or AE (which is everyday) I’ll choose my tower 100% of the time.
Best,
CraigCraig Whitaker
Digital Design Director
Assembly
161 Leverington Avenue Suite 1002
Philadelphia, PA 19127
O: 215-487-2060
craig@assemblypix.com -
Hey Alan,
TP is a good way to go and honestly, not that complicated once you wrap your head around the fundamentals of why and what is happening. Feel free to post and scene files you’re working on, I’d be happy to have a look for you.
Best,
CraigCraig Whitaker
Digital Design Director
Assembly
161 Leverington Avenue Suite 1002
Philadelphia, PA 19127
O: 215-487-2060
craig@assemblypix.com -
I’d animate a sweep nurbs along a path, render that as an animated texture to drive a displacement. Hope that helps.
Craig Whitaker
Digital Design Director
Assembly
161 Leverington Avenue Suite 1002
Philadelphia, PA 19127
O: 215-487-2060
craig@assemblypix.com -
Simple, but not very elegant way could be to create your symbols, parent them to an Emitter and set your start frame to start emitting when your laser beam makes contact. For the beam, I’d just render a white matte pass and then create the color, glow, etc, in comp. Hope this helps.
Craig Whitaker
Digital Design Director
Assembly
161 Leverington Avenue Suite 1002
Philadelphia, PA 19127
O: 215-487-2060
craig@assemblypix.com -
Depending on how long the shot is or what the subject is doing, I’d probably paint a clean frame and track it back on top.
Craig
Craig Whitaker
Digital Design Director
Assembly
161 Leverington Avenue Suite 1002
Philadelphia, PA 19127
O: 215-487-2060
craig@assemblypix.com -
Dave,
Thanks for the reply. I agree 100% that picture lock is the way to go and is a “best practice.” It’s built into all of our bids, schedules, etc. With that said, I can count on one hand how many times I’ve actually finished a job after picture lock without going back to the edit. There are a few clients / agencies that understand the process, but most make changes right up until the day of delivery, sometimes hours before. When the shots come over into AE, it appears that the entire clip is brought over as well, so assuming something gets slipped, the handles appear to be there. I’m just trying to figure out if there’s a neat and tidy way to keep track of that. Thanks again and have a nice holiday!
Best,
CraigCraig Whitaker
Digital Design Director
Assembly
161 Leverington Avenue Suite 1002
Philadelphia, PA 19127
O: 215-487-2060
craig@assemblypix.com -
The problem I’m running into is matching client supplied RGB values when working in 32bpc, 709 color managed, linear space.
We have Alexa footage for greenscreen, linear renders from 3D and also need to incorporate rgb values for backgrounds and type. I’m having a really difficult time figuring out the best project setup for this.
Any help is greatly appreciated.
Thanks,
Craig -
Great, thank you, I’ll check out their AI file now. And yes, it’s to us effectors. Thanks!
Craig
Craig Whitaker
Digital Design Director
Assembly
161 Leverington Avenue Suite 1002
Philadelphia, PA 19127
O: 215-487-2060
craig@assemblypix.com -
Adam,
Thanks so much, this is exactly what I was looking for.
Craig
craig whitaker
vfx – mograph
https://www.imdb.com/name/nm4117151/