Darby Edelen
Forum Replies Created
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[Algae998] “some of the Imaginner Systems’ programs”
Imagineer’s products all use planar tracking, which is subtly different than 3D/point tracking (they describe it as 2.5D tracking). 3D trackers and AE’s tracker use points to track, where as Imagineer’s programs use a plane that you define by drawing out a bezier shape to track. It’s often faster and more accurate than point tracking, but fundamentally different.
I haven’t had a chance to work with Mocha, they’re new tracking software, but my understanding of it is that you cannot create 3D camera data, which is generally what you work with in AE when match moving.
Darby Edelen
DVD Menu Artist
Left Coast Digital
Aptos, CA -
[cyprusx] “the video was recorded with tap, then ripped to a dvd, then converted to avi. with some errors( skipped).”
I am confused by your workflow here. When you say ‘tap’ i’m assuming you mean ‘tape’ (if you meant anything else, please clarify as a google search of ‘tap’ didn’t provide much… but I did get to read up on the history of tap dance!)
When you say the video was ‘ripped to a dvd’ do you mean ‘burned to a dvd’? Generally you rip things off a DVD and burn them on. If you burned the footage onto a DVD, did you burn it as data or as a DVD that could be played in a set top box?
I think I’m confused about the conversion to AVI just because I’m confused about the previous steps.
Please clarify where your source footage is coming from and why you’re taking these steps to deal with it?
Darby Edelen
DVD Menu Artist
Left Coast Digital
Aptos, CA -
[anandabrata] “1) When I have a clip and edit that clip i.e is cut the parts not required or insert another clip between the two clips the major problem is that since they are not continuous frames so the clip to clip transition are not smooth but very clearly visible that there has been a cut. Is there anyway that i can smooth the end and start frame of two different clips so that transition between them after the edit is not evident.”
Every edit is evident if you’re looking for them, the key is to editing in such a way that nobody notices them. It sounds to me like you’re just asking for a cross fade though, which is the easy way out 😉 If you’re trying to cut between two shots from the same camera setup then it is probably going to be a bit jarring, the way to get around this is to either cut the clip stylistically so that the cuts have a rhythm and a reason to them or insert a cut away to a pickup shot… What that shot is will depend entirely on the context of your narrative, it should be different enough from the previous shot to register as a new shot, but it should probably be related somehow by environment or context.
[anandabrata] “2) I have pre-composed two clips to make a new composition. Then i save the project and close AE. When I return to that project , I want to able to bring back the pre-composed composition to it’s earlier stage i.e simply undo the pre-compose. Is there a way to achieve that?”
You can copy the layers in the pre-composition and paste them into another composition. However, it should be a rare case when you actually want/need to do this, what are you trying to accomplish here?
Darby Edelen
DVD Menu Artist
Left Coast Digital
Aptos, CA -
[yikesmikes] “startFrame = 145;
stopFrame = 241;if (time >= framesToTime(startFrame) && time < framesToTime(stopFrame)){ wiggle (5,20) }else{ value }"
One thing I find with starting and stopping wiggles like this is that at the start and end frames you often see a jump. This is more pronounced when the magnitude of the wiggle is larger.
You can create an ease in and out from the wiggle if you give it another variable for the number of frames to ease over. Here’s one of many possible methods:
startFrame = framesToTime(145);
stopFrame = framesToTime(241);
easeOver = framesToTime(20);
freq = 5;
amp = 20;if((time >= startFrame)&&(time < stopFrame)){ if(time < startFrame + easeOver) linear(time, startFrame, startFrame + easeOver, value, wiggle(freq,amp)); if(time >= stopFrame - easeOver) linear(time, stopFrame - easeOver, stopFrame, wiggle(freq,amp), value);
else wiggle(freq,amp);
}else value
Darby Edelen
DVD Menu Artist
Left Coast Digital
Aptos, CA -
I assume your pre-comp is a 3D layer with collapse transformations enabled, if so did you insert any 2D layers into the pre-comp? This would break the 3D-ness of the pre-comp in the main composition, you basically have to imagine (when using collapse transformations) that every layer is being imported into the main comp exactly as it exists in the pre-comp, all blending modes and layer swatches will behave accordingly.
If you added any 2D adjustment layers or 2D Null objects, these could break the 3D effect.
Darby Edelen
DVD Menu Artist
Left Coast Digital
Aptos, CA -
[Maltaannon] “You just have to change the interpolation from whatever it is, to Linear”
That’s spatial interpolation just to clarify.
Darby Edelen
DVD Menu Artist
Left Coast Digital
Aptos, CA -
A little more information would be helpful. Where are you getting the hard edge? Is it at the edge of a layer/pre-comp or on some of the pixel information in the center?
If it’s along the edges of a layer you’ll want to uncheck ‘repeat edge pixels’ and possibly use a Utility > Grow Bounds effect prior to the blur.
Darby Edelen
DVD Menu Artist
Left Coast Digital
Aptos, CA -
If you tap ‘p’ to reveal all the position property of the layer then the timeline should center the view of the stack on that layer. This should work with any property as long as you know the shortcut.
Darby Edelen
DVD Menu Artist
Left Coast Digital
Aptos, CA -
[Nico Jones] “Does anyone know of a technique / filter that might help reduce the visibility of a small, bright patch of sweat on someone’s face?”
I would recommend trying the Clone Tool.
Or if the spot stands out enough you could pull a matte and try some color correction on it to dull it and bring it toward a flesh tone.
Or you could try a very subtle/small CC Simple Wire Removal.
Darby Edelen
DVD Menu Artist
Left Coast Digital
Aptos, CA -
The sky and moon should definitely be distant 3D layers. You can increase the scale if you don’t plan on getting close to them. Don’t parent them to the camera. You might need to compose a few different layers to make a 360