Darby Edelen
Forum Replies Created
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There’s at least 3 things going on in that shot.
1. Slowed footage. You can do this with Timewarp, which ships with AE, or another plug-in like Twixtor or Kronos.
2. Rotoscoping. The character in the front sits on top of the effect, so you’ll have to separate your subject from the background.
3. Funky color separation effect. This could be done in a few different ways. It looks like they basically passed the footage into AE’s 3D Glasses effect to generate an anaglyph version of the footage. You could, however, create a more robust effect by using 2 copies of your footage.
Apply the “Solid Composite” effect to both copies. Set the blending mode on the effects to Multiply and lower the Opacity of the effect to 50% (a good starting place, you can change it later). Set the top layer’s blend mode to Add. You can then choose 2 arbitrary colors instead of Red/Blue or Red/Green for your effect. Move the layers to get the separation.
Also it looks like they scale/move the background and subject footage some and blur the background.
Darby Edelen
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[Robert Norman] “Using Lossless-QT-PNG as render que settings…”
That could be one of the issues. I usually find that PNG QuickTimes are insanely slow to decode, so perhaps the inverse is true and encode is a beast as well.
What codec is the source footage using? Do RAM previews seem very slow as well? You could watch the rendering status in the Info panel during preview or the rendering status in the Render Queue (twirl down the arrow to the left of ‘Current Render’) to see what (if any) steps AE is chugging on.
Darby Edelen
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Go to your Window > Preview panel (cmd-3 on mac, ctrl-3 on pc). Expand the panel to reveal all of its attributes (I believe the default is just playback controls). There should be a ‘Resolution’ drop down at the right side. Make sure that is set to Auto (which will use whatever resolution your composition is currently set to) or Full.
Darby Edelen
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I was able to get a good result on your clip with the Warp Stabilizer by using the Position, Scale, Rotation method for the stabilization.
Darby Edelen
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I’d be surprised if this were the issue, but check under your setting for “Hardware Accelerate Composition, Layer, and Footage Panels” in Preferences > Display.
If it’s checked, try unchecking it.
Darby Edelen
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Fractal noise is one of my favorite tools for creating water. You can layer several instances of it to create some really great “bump” maps that you can use to drive displacement maps or the cc glass effect.
Darby Edelen
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[Allen joaquin] “What about solids? Let’s say i have a nice animation with a solid do i need to save it as a project to re-use or can i save it somehow to use it from anywhere in AE?”
You can save any or all of the properties of the solid as an animation preset, but you can’t save the solid itself as an animation preset.
You’ll have to save that as a project file or project template. Template files can be made by changing the .aep postfix to .aet. Template files cannot be modified by “Save” but you can Import them into projects or use “Save As.”
Darby Edelen
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You have to select the properties you want saved in the preset. Only properties that are selected will be saved in the preset.
An easy way to view only properties that have been changed from their defaults is to press ‘uu’ with the layer selected. Then you can shift select the properties that come up and save your preset from there.
Darby Edelen
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I think Hue/Saturation will work for you to desaturate the green in your image if you are careful with the custom range value. The green in the shot has a lot of red in it (as I’m sure you’re well aware by now) which makes keying (be sure to adjust Screen Balance and Despill Bias!) and this sort of selective adjustment in a warm environment more difficult.
Darby Edelen
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You could try using some color correction to produce a usable shadow.
I’d start by duplicating the green screen footage and applying a Hue/Saturation effect to it. Desaturate the greens so that your shadow is a dark gray spot in a large gray area, then use a Levels effect to push the area surrounding the shadow into white. Set the blend mode of the layer to Multiply and place it below your keyed footage.
Depending on how evenly lit your green screen was you may need to use a mask around the shadow area. Also, try to reduce the amount of shadow that comes through on the key.
Also try tweaking your Despill Bias.
Darby Edelen