Daniel Waldron
Forum Replies Created
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I’m afraid so. You could look into recovery software. I’ve had mixed luck with some in the past (can’t remember the name of it), and it would likely be cheaper. They usually allow you to test a small portion to see if it works before paying for it. It’s a long shot, but worth a try.
It sucks to learn the hard way, but I bet you’ll always back up your project on a separate drive from now on. I actually just drag a version of the project file to my Google Drive account in the cloud every few hours. It’s easy and no need to have another hard drive hooked up all the time.
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I would use the Fast Color Corrector to match the shadows and highlights of the clip (use the waveform in the Reference monitor). Then apply the Three-Way Color Corrector and use secondary color correction to match specific colors such as skin tones and the guitar. Play around with the color wheels and saturation to see how they affect the look. Look up some color correction videos on Adobe TV for a crash course. It’s a great resource.
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I don’t think that plugin exists. Any chance you would have a recent auto-save of the project file on another drive? Otherwise I would start looking into options for recovering the hard drive. There’s some software out there that may help, or take it to an expert. It will cost $$ but if you need the files, your options are limited.
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If the layers are already scaled at 100% before the camera moves in, you will lose quality, unless they are vector layers of course. What kind of layers are we dealing with?
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Changing the first parts of the clip is doable, but I would say it’s very difficult and tedious. Rotoscoping is your best bet. Once the motion blur of the wire snapping back and forth comes into play, it gets even more interesting. I guess the motion blur of the blue wire doesn’t have to be exact as long as it cover the white wire.
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There are numerous ways to achieve these transitions. To create some simple ones yourself, buy some brush textures and animate them as track mattes.
You could also likely find very reasonable transition pack as a template on a site like Pond5 or Video Hive.
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Check this tutorial out to get started.
You can then play with desaturating, increasing contrast, and adding some sort of distortion effect. You’d probably want use some track mattes with your footage for the warping.
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I freelanced for several years with a MacBook Pro, even doing some light 4K work. It’s not ideal for projects that may require complex graphics or animation, but it got the job done for what I needed. If you can only afford one computer now and need to be mobile, it’s a good way to go. Just be prepared for some longer render times and the occasional lag.
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I usually just add wiggle expressions to the position, rotation, and orientation of a camera in the composition. You can add as much or as little as you need for each to get the look you want.
Another way to do it is to shoot a quick handheld video with whatever camera you have available (it would probably even work on a phone) and use tracking data from that on you comp camera. Just make sure you have some decent track points in your shot; you could even just throw some gaffers tape on the wall. Doesn’t need to be pretty. 😉
Edit: Just saw Ted also suggested shooting…
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Ah, I see what you’re saying. You could parent both layers to a Null Object that is in between both layers, then use the align function on the Null Object, but then you are stuck trying to center the null object between the two layers.
I know you don’t want to hear this, but I think precomping is your best bet.