Darby Edelen
Forum Replies Created
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The center of your screen is always half the horizontal and half the vertical resolution of the composition. So [640,360] is the center of a [1280,720] composition.
With 3D layers, the closer your layer gets to the camera the more any offsets from the center of the screen will be magnified. If you imagine a 3D grid of pixels, instead of the usual 2D grid of pixels, the pixels get larger as you get closer to the camera and smaller as you get farther away. This amplifies any offset from the center of the composition.
Also remember that the position property defines the position of your layer’s anchor point in the composition. So make sure that your anchor point is on the part of the layer that you want to occupy the center of the screen.
Darby Edelen
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[James Whittington] “I can tell when I watch frame by frame what’s happening. For some reason there are white particles that are passing in front of the orange ones. Just don’t know why. And I’ve been playing with settings all day.”
Are you using an image to assign color to the particles? If so, make sure that you are also assigning alpha from that image (and that the image has an alpha). I’d recommend working on top of a colored background to see what’s happening more clearly, choose a color that is not present in the source image.
If you’re assigning the color in the Form controls then check those again and make sure you don’t have some white particles floating about 🙂
Darby Edelen
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Just guessing here, but are you using an open spline? My suspicion is that the exterior of your pan may have its normals facing in the wrong direction.
Edit – Checked this out for myself and I’m wrong, should work regardless of open or closed spline. That’ll show me for jumping the gun on a response 🙂
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This does not exist in AE as a feature currently. You could suggest it to the AE team though. The old feature request site seems to be gone, perhaps someone else knows where to head for this sort of thing… Todd? 🙂
Darby Edelen
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[Chris Wood] “What I’d like to be able to do is select from a range of 5-6 colours, and have them randomly assigned to each triangle.”
Do you have Mograph? You should be able to do this by placing the Extrude NURBs into a Fracture object set to “Explode Segments & Connect” then using a Random effector to vary the color of the objects. You can also use a Multishader on the Fracture object to define specific colors you’d like the objects to chose based on the color assigned by the Random effector.
This is kind of confusing if you’re not familiar with Mograph, and kind of impossible if you don’t have access to it. The next best thing I could think of would be to make your Extrude NURBs editable and assign different materials to the pieces manually.
Darby Edelen
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I believe what you’ll want to do is create some simple geometry where the talent is in your shot, apply the Compositing tag to it and check on “Matte Object” in the tag.
Personally I’d prefer to create a matte in a compositing application and render separate passes for the ribbons rather than “bake” the matte into the alpha coming out of C4D, but to each their own 🙂
Darby Edelen
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[David Ghast] “Ive ran into this before where thin transparencies are blurred into uselessness, i guess this is why no major motion picture uses AE for anything serious, if at all. I guess its time to start learning nuke.”
Nuke is definitely worthwhile to learn, but I wouldn’t abandon AE either.
You’ve been given a fix for your sub-pixel sampling issue: change the layer quality switch from Best to Draft. This is a per-layer switch in the composition timeline. You could also change it in the Layer menu with your layer selected.
Nuke has a ton of sub-sampling choices where as AE only has these two, so if you’re disappointed with these options it might be time to explore others.
Darby Edelen
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[Roland R. Kahlenberg] “If it’s 59.94P, you can interpret the 59.94 as 29.97 interlaced footage. After interpreting it this way, it’ll treat each frame as a field. Drop the footage into a 29.97 comp and you should be good to go.”
Roland, is there any benefit to doing this as opposed to just dropping the 59.94 footage into a 29.97 composition? That’s how I’d do it, but now I’m questioning my instinct 🙂
Darby Edelen
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Have you tried reducing your ray-trace quality in composition settings to 1?
Darby Edelen
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You’ll need to start with a white to black radial gradient, then use the soft light blend mode to composite in the fractal noise. At that point you can control the “growth” of the noise by adjusting the size of the radial gradient, or you can use this grayscale map to drive a gradient wipe.
Darby Edelen