Curious Turtle
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You can’t. The parent/child relationship must be within the same comp.
If you want to attach multiple layers to one layer in a different comp, then your best bet is to create a null and use expressions to link the transform properties. Then simply Parent to that Null.
HTH
Ben
Curious Turtle Professional Video
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You can’t. The parent/child relationship must be within the same comp.
If you want to attach multiple layers to one layer in a different comp, then your best bet is to create a null and use expressions to link the transform properties. Then simply Parent to that Null.
HTH
Ben
Curious Turtle Professional Video
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That’s a very impressive cloning job. I hope they use something like mokey to do the heavy lifting. Nice concept.
Curious Turtle Professional Video
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Forgot to answer the second part of your question…
As you’re bringing down the rest of the scene (either with the mask or keyframing a curve), you could also keyframe the Intensity and Ray Length parameters in Shine to increase the rays.
Curious Turtle Professional Video
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If the headlights are the brightest thing in the image you could also use a simple Curves adjustment to bring the Gamma down.
HTH
BenCurious Turtle Professional Video
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Or check out the fantastic Boris Continuum plug-ins. You’ll want the Witness Protection in this case, and it comes with it’s own built in motion tracker. So no frame by frame keyframing.
It’s got a 14 day demo so you can see that it works. It’s well worth it. I use at least one BCC plug-in in every project.
HTH
Ben
Curious Turtle Professional Video
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Choosing your codec isn’t just about disk space. It’s mainly about where you’re going to go with it afterwards, and more importantly what you’re going to do with it afterwards.
If you’re sending it to an editing application that will edit native DV and you’re going to do cuts only (no colour correction, nothing that requires rendering) then you could use the DV codec. Otherwise, don’t do it. You want to avoid rendering through lossy codecs multiple times. DV is highly compressed, so the compression concatenation problems will build up rather quickly.
Choose instead a lossless codec. Marco Solorio has an excellent site with an overview of many codecs here. But if you want a classic 8-bit lossless one, then Animation set to Best is your buddy.
If you’re edit system can’t handle Animation natively, then choose the best quality codec for your system, but compress it as little as possible.
If this means that you have to spend $200 on a new harddrive, it’s worth the expense. :o)
HTH
Ben
Curious Turtle Professional Video
Training | Editing |Support -
If you want to export out to MPEG2 directly then you have to choose the Export Using Compressor option.
If you’re exporting for display on a website then MPEG2 is really not the codec of choice though.
Curious Turtle Professional Video
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Yep, so long as your footage is set up for this, even halfway, this is a snap.
Create a duplicate of your footage, so that you have the same video on Track 1 and Track 2.
Add a Chromakey on Track 2. Use this to key out the colour you want to keep. In the original Sin City, when they were filming and knew they wanted the colour to stay in, they would make sure it was a “key-friendly” blue or green.
Now add a Tritone filter to Track 2. This will create the effect on everything but what you keyed out. You can now use your artistic bone to change the sepia colour to something you’d like. You should put a Hue-Sat-Lightness filter on Track 1 to change your green blood back to red. Then do any further colour correction changes you have to make.
Voila! One Sin City effect. Simple. (You can do this with a other filters and the Pixel Chooser, but seperating them out onto two tracks makes it easier to do the cosmetic changes to get your look right)
HTH,
BenCurious Turtle Professional Video
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Or… if you’re after a complete plug-ins set with this feature in it:
Just check out “Motion Blur”
Ben
Curious Turtle Professional Video
Training | Editing |Support