Darby Edelen
Forum Replies Created
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Generally speaking I find adjustment layers useful for global (or at least somewhat expanded) color adjustments. Doesn’t sound exciting does it?
Adjusting the entire composition, or groups within the composition, from a couple of non-destructive layers can be very useful.
If you’re looking for some specific uses, try putting a Black & White adjustment layer at the top of your PSD and switching its blend mode to Hard Light. Whammo, instant bleach bypass. You can lower the Fill on the adjustment layer to reduce its overall effect.
Darby Edelen
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I’d recommend pre-composing a matte for the slime coming down the wall as previously suggested.
Then I’d look into using that matte to drive a combination of CC Glass, color correction effects and Compound Blur. This should give you a good look.
Darby Edelen
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The light on the green paper is low and uneven, some of it even looks red. That’s no good for chroma keying.
In the future I would highly recommend testing any method you’re not familiar with before you go shoot.
As you now know: green isn’t a magic color. It’s hard to key from it without careful planning and proper execution.
In the case of your offending shot I would’ve tried putting white paper into the frames instead, throwing the videos on top in the Multiply blend mode and then creating a matte for the person in the foreground.
You can still do this, you don’t need to key the green. Corner pin track the footage to the frames and mask it roughly. The benefit of the Multiply mode on a white page is that all of the shadows/lighting is preserved, in your case you’ll have to try and recreate that after the fact.
Darby Edelen
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[Ryan Gibson] “Can’t switch of Rastersize, otherwise the image would be pixelized.”
Well then you’re stuck. You can’t have both as you’ve set it up. It’s just the way continuous rasterization behaves.
You could pre-compose the continuously rasterized vector image in a composition with the largest resolution you’ll need, then you can place that large composition in your composition without the need for the continuously rasterize switch.
Darby Edelen
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Disable the Continously Rasterize switch on the layer you have applied Write-On to.
Darby Edelen
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You need to use the Compositing tag to create an Object Buffer and render that pass AND you also need the External Compositing tag in order to pass 3D location data from C4D to AE.
In addition, the only data that C4D passes to AE is the Axis of the object to which you applied the External Compositing tag. This means that the center of your solid will be located at that object’s axis. If your object has any depth to it (e.g. it is a cube) and the axis is not located on one of its surfaces, then your AE solid’s anchor point will be located inside the object.
Furthermore, your AE solid will be oriented relative to the orientation of the C4D object’s axis. The X and Y axes of the AE solid will match those of the C4D axis, but since the axis systems are different the Z axis is flipped (the 180° rotation you mentioned).
To fix your issues you can either move the axis of the screen in C4D or place a Null as a child of the screen and use that to define the location/orientation of your solid’s center (If you use a Null object then you need to apply the External Compositing tag to it).
Also, I don’t like to use the “Solid” option in the External Compositing tag. It’s unlikely that you’ll get a solid of the correct size anyway. If you leave that disabled you’ll get a Null object in AE instead, to which you can parent your screen footage and then transform it relative to the Null’s location.
Darby Edelen
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Downloaded the footage from YouTube and took another look. It looks like there’s definitely some frame rate shenanigans going on here. The youtube video is 30fps and the C4D text updates every frame while the video plate behind it has a repeating pattern of duplicate frames. This would make me think that the C4D render is at the wrong frame rate, or being interpreted incorrectly in AE.
Darby Edelen
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Looks like some sort of frame offset was introduced.
Aside from that, this track looks good in AE? You’ve tried adding a text animation natively? In addition to the frame offset, it doesn’t look like a solid track.
The shot looks pretty much like a nodal pan/tilt movement. Is that how you’re solving it in CameraTracker (“Rotation Only” under Solve -> Camera Motion)?
Darby Edelen
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Make sure that your Composition Viewer is set to “Active Camera” and not “Custom View” or “Front” or one of the other alternate viewing angles.
Darby Edelen
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Also you can change the Shadow Map resolution by clicking on the “Options…” button next to the renderer in the Advanced tab of your Composition Settings (cmd-k/ctrl-k mac/pc).
The default shadow map resolution is based on the resolution of the composition. This is usually okay, but if you need additional accuracy you can choose a resolution up to 4000px. This will increase render time and uses more memory but should give you more accurate shadows.
Darby Edelen