Darby Edelen
Forum Replies Created
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How is speeding up footage without frame blending any different temporally speaking?
If you speed up your footage playback without frame blending then you are literally doing the same thing: throwing away frames.
I wish I’d seen this thread when it started, could’ve put the fire out then 🙂
Darby Edelen
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Your settings are fine in general. It’s not strictly necessary to use your delivery color profile as the working space, but it usually doesn’t hurt things too much.
It’s been a little while since I’ve worked with r3d files, so I could be off on this, but I think you’ll want to at least check the r3d raw settings in AE by going to the interpret footage panel and using the more options button.
I also seem to recall that the r3d options determine the footage input color profile and that interpreting the footage in AE is double dipping, in which case Preserve RGB would be preferred. I’m not very sure on this last point though.
Darby Edelen
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Walter nailed it, but I thought I’d share my favorite place to drag items to move them to the root: to the left. The small area just to the left of an item’s icon works to move items and it’s the shortest route to moving them up to the root.
Darby Edelen
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Your masks were probably over complicated as well. There’s really no need to bring the mask inside the folds of the shirt/clothing. Make the mask more convex overall and you’ll probably get better results. It also looks like you may be using RotoBezier masks which isn’t necessarily a problem, but I find much harder to work with generally.
I downloaded your problem image with the multitude of correspondence points and drew my own simplified masks with 5 correspondence points and had decent results in 2 minutes.
Darby Edelen
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As I recall After Effects expressions use ECMAscript which (in addition to being ugly) is the standards controlled implementation of JavaScript. It’s possible that ECMAscript does not implement all of the features of JavaScript but I haven’t run into any obvious differences.
As far as After Effects is concerned there are lots of AE specific objects implemented which I believe Walter has covered admirably. Dan Ebberts’ site (https://www.motionscript.com) is a great source for AE specific paradigms.
The only other thing to keep in mind is that an AE expression evaluates fresh on every frame. There is no knowledge of what happened on previous frames (the variables are re-initialized) unless you explicitly code the expression that way.
Darby Edelen
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I’d key the green to get close and then roto as needed to fill in holes.
As for the reflections I’d recommend using a despill method (I still like Channel Mixer) to remove the green from the table and then Screen your interface footage in on top.
The keyed/roto’d layer would go above that.
Darby Edelen
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It’s been awhile since I’ve used reshape but as I recall a general rule of thumb is to use as few correspondence points as possible to get the deformation looking right. I’d usually start with 2 or 3 and add more as necessary regardless of the assumed complexity of the masks.
Also, I’m pretty sure you shouldn’t be using Mask 2 as a boundary mask. I think that’ll wreak havoc if a correspondence point attempts to accommodate across the boundary (which is happening with the very mixed convex/concave shape of Mask 2).
Darby Edelen
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Was the Scale Composition script that ships with AE used to do the scaling? I’m pretty sure that accounts for 3d layers, depth and camera moves.
Darby Edelen
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Technically that’d be the multiply blend mode, but pure red and pure green multiplied together (for example) would result in pure black.
If your goal is to emulate real world paints then I’d definitely recommend using impure colors (not fully saturated and not a pure primary hue). I’d also suggest using colors closer to the subtractive primaries: Cyan, Magenta and Yellow.
Darby Edelen
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You can also use the Shift-V shortcut in an editor view to access the view configuration settings.
Darby Edelen