Darby Edelen
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Make sure that your composition is set to “Classic 3D” and not the new Ray-traced Renderer, which only works well with a high end NVIDIA GPU and CUDA drivers installed.
You can access this in the Composition settings ‘Advanced’ tab or by clicking on the button in the upper right corner of the composition.
Darby Edelen
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I found the content off-putting, and the timing of release for this video makes it even less appropriate.
Hard to get past that to consider the effects.
Darby Edelen
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Everything you’re saying makes sense but you still have to work within the limitations imposed by After Effects and Particular.
The only way to make a splash appear above another is to either layer it on top of the previous splash or use standard AE masking/matting techniques.
Darby Edelen
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The Reshape effect uses Masks.
You’d need a Source mask that matches the nose’s original contour, a Destination mask that matches the final contour, and optionally a Boundary mask that would limit the distortion to the area it defined.
Read up on it in the online documentation. It’s pretty important to set Correspondence Points along the Source and Destination masks in order to get a usable distortion.
If the talent is moving then the Tracker2Mask script I linked to previously might help.
This would be a more involved process than the one you were using before but it can give you a more “natural” growth.
Darby Edelen
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I’d recommend looking at the Reshape effect.
If you want help getting the masks to work properly you may want to try using this handy script:
https://aescripts.com/tracker2mask/
Darby Edelen
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You can think of AE as using a “Default” camera in your composition even when you don’t have a camera layer. My suggestion would be to try and match this default camera with your camera layer.
Select the camera and press cmd-shift-y (mac) or ctrl-shift-y (pc) to get to the detailed camera properties. Just under the “Name” on the upper right side there should be a “Preset” dropdown. Select “50mm” from that menu (this matches the default AE camera). Press OK in this dialog.
Now in your composition you just need to make sure that the position of your camera is at the default, to do that twirl your camera properties open on the timeline and hit “Reset” just to the right of the “Transform” properties group.
That should do it.
Darby Edelen
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The latest versions of Particular include a Transfer Mode dropdown in the Rendering section of the effect. Use “None” on your first instance on a layer. After that you can use “Normal” in your 2nd instance, or another mode to blend the effects as though they were on separate layers.
Note that as with layer stacking, the last effect applied will always be blended “on top” of previous effects. The two particle systems will not interact in 3D.
Darby Edelen
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Not sure that this will fix the issue you’re having, but always make sure that you paint with roto brush at Full resolution. Note the warning at the bottom of your layer viewer. Switch back to the composition viewer and make sure that you’re set to “Full” resolution.
Darby Edelen
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I started drafting a response while I was on the road yesterday, but I see now that Walter has beaten me to it and done his usual amazing job explaining 🙂
I’ll just reiterate a couple of points he made and add my own.
The “Working Profile” is the color profile in which all compositing will be done and does not need to match your input, output, or display color profiles. As Walter said, if you want the most latitude with your colors you should choose a “wide gamut” color profile as the working profile and work in 32bpc. ProPhoto RGB, for example, has a much wider gamut (can represent more colors) than sRGB.
There are several places where a color managed workflow can go wrong. However, in my opinion the most important step is to assign your input profiles correctly, because if you don’t do that then nothing else is going to work.
Your output profile can be chosen based on where the output is headed. sRGB is a good choice for web/computer display.
The last thing I’ll mention is that you can go to the View > Simulate Output menu to see what your composition will look like in various color profiles. Note that this assumes your output profile will be set to your working profile, which is often not the case! If you are planning to set a different output profile then you can create a “Custom…” output simulation. The below settings, for example, should show you what an sRGB output profile would look like on your display.
This window also gives you a better idea of the various steps in the color managed workflow.
Last thing to remember is that different players/devices interpret colors in different ways. Most video players simply assume an input color profile, perhaps based on codec, and then may apply color “enhancements” to the output. I believe this can also be affected by graphics card control panel settings.
Bottom line: used properly the color managed workflow is the closest you can get to ensuring colors are correct in a best case scenario, but it is by no means a guarantee that the colors will appear the same in every permutation of viewing environments. That’s simply not possible.
Darby Edelen
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Are all of your elements rendered footage from Cinema 4D? If that’s the case then it may have something to do with the footage interpretation. If you’re working in a 29.97fps composition, for example, I’d make sure that all of your footage items are interpreted at 29.97fps.
Other things that can appear to offset images include motion blur (which would only apply to layers that move and have their motion blur switch enabled) or time remapping. If you’re using either of those I’d check it.
Darby Edelen
