Darby Edelen
Forum Replies Created
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You can use a mask on the original footage to hold out the green section of the glasses. Then you can remove the green using your despill technique of choice.
Darby Edelen
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Use a video player that supports v sync and use a frame rate that divides evenly into the display’s refresh rate (e.g. 30fps for a 60Hz display)
Darby Edelen
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[Ryan Hannebaum] “As I mentioned above, I am in Ray-traced 3D; will that affect my ability to implement your solution?”
Should make it somewhat easier. The solution I was offering is a faux-ray-tracing solution in the standard 3D system.
In the case of the Ray-traced 3D renderer you can use an Environment Layer and layers set to Appears In Reflections: Only to throw reflections on the screen. Read more on the material settings and environment layers in the Adobe help.
Darby Edelen
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Are you referring to the horizontal lines that appear to cut through the image? That’s usually called “tearing.” It’s a result of the screen refresh rate and the frame rate of the video being out of sync.
You see this more commonly in video games where there is a feature called “V-Sync” which locks the display of frames to the refresh cycle of the monitor to eliminate the tearing.
Here’s some more information:
https://en.wikipedia.org/wiki/Screen_tearing
Darby Edelen
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Something I very often do in cases like this is use an environment map or secondary 3D layers to build reflections. If you place these layers on top of the surface that should be reflecting and use a Set Matte effect to restrict the reflection layers you can end up with a pretty convincing look.
This technique requires that the reflective surface has collapse transformations/continuously rasterize turned on and that the reflection layers are either full comp sized or also have their collapse transformations switch enabled (so that Set Matte works correctly).
I’ve attached a quick sample setup.
Darby Edelen
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[Benjamin Allison] “I know I can set two keyframes, and use `loopOut(“pingPong”);` but I want to try and achieve this with a simple expression.”
loopOut(“pingpong”) is a simple expression! 🙂
You won’t be able to define any spatial paths any other way, but this should work:
d = 5;
fd = d * 2;
p1 = [200, 500];
p2 = [500, 200];
t = (time - inPoint) % fd;if(t <= d) linear(t, 0, d, p1, p2);
else linear(t, d, fd, p2, p1);This starts from p1 at the beginning of the layer and runs to p2 over 5 seconds, then goes back to p1 and begins again. If you want the animation to ease in to each point you could use the ease() function instead of linear() providing the same arguments.
-Darby
Darby Edelen
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Honestly, I don’t use the Cineware feature (I’m old school I guess) so I can’t provide detailed input but: are you extracting the camera as well? How are you parenting the light (are there Constraint tags in C4D lite)?
Darby Edelen
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[Matt Davis] “Rather than have a lighting effect created in AFX, why not have a real light?”
In general I agree with Matt’s suggestion. It’s far too complicated to try and create a light source entirely in post. If you have a light source to begin with then you get all of the natural play of light/shadow on the scene and you also have the flexibility of modifying the light properties in post (making it more intense, adding a color cast, etc.)
However, in your particular case it may be difficult to pull this off shooting at night. It sounds like your light source is intended to be hundreds of miles away. It is easy for even casual viewers to tell the difference between the light and shadows that a close light casts vs. a distant light.
My suggestion would be to do some experiments shooting this during the daytime and using the Sun as your “anomaly.” If you underexpose a bit and color correct in AE you could probably get a decent day-for-night.
For the shots of the anomaly I might not shoot directly at the sun; that’d be way too bright to meaningfully color correct. Instead try positioning your talent so that the light looks correct and the sun is just out of frame. Alternatively if the Sun/Anomaly don’t cross any of the foreground elements you may be able to remove it entirely in AE when doing your sky replacement.
This’d probably look best just after dawn or before dusk as well for the more dramatic lighting, but that’s a stylistic choice for the director to make 🙂
No guarantees the above will work (that’s why I recommend testing!) but it’s the first thing that came to mind.
Darby Edelen
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[Walter Soyka] “Or have the cog spinning at a constant rate inside a precomp, then use time-remapping to adjust its speed.”
I suppose that is another option, but it would require the same number of keyframes as keyframing the rotation plus another step 🙂
Unless of course you used Timewarp, Twixtor or a similar effect that actually allows you to keyframe the speed of the animation directly. These come with their own problems: poorer interpolation of the animation and increased render time.
Darby Edelen
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[Ryan Hannebaum] “I came across this solution, but I didn’t know if maybe there was an easier way, because I don’t fully understand the solution myself…”
The only other way is to manually keyframe the rotation, which is probably what I’d do.
The expression that works in this case has a few shortcomings. It doesn’t work well with motion blur and it needs to calculate all frames prior to the current frame, so the later in the animation you go the longer it takes to calculate the value at the current frame.
You could get around both of these problems by converting the expression to keyframes but that can become irritating if you need to change the values.
Darby Edelen