Darby Edelen
Forum Replies Created
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You might have to resort to something very drastic/strange like Distort->Turbulent Displace or Noise->Median on an Adjustment Layer with feathered masks. You might also be able to use the Clone Stamp tool for some interesting effects.
Darby Edelen
DVD Menu Artist
Left Coast Digital
Aptos, CA -
What version of AE are you running and on what system?
Darby Edelen
DVD Menu Artist
Left Coast Digital
Aptos, CA -
You will most likely need to use masks as holdout regions to keep the holes from appearing. This could be a pain depending on the number and size of the holes.
Place the footage of your actor at the top of the layer stack (or at least above the footage with holes in it) and use masks to allow this layer to ‘fill’ the holes in the layer below it. As long as you haven’t moved or altered the underlying footage it should line up perfectly.
Darby Edelen
DVD Menu Artist
Left Coast Digital
Aptos, CA -
I’m not familiar with this particular problem, but I am familiar with a few things to consider when using collapse transformations.
Are you using any effects on the layer that its transformations collapsed? Are you using any 2D layers (adjustment layers perhaps?) inside the pre-comp? Have you adjusted the scale property of the collapsed layer at all? Any other factors/variables you can share with us?
Darby Edelen
DVD Menu Artist
Left Coast Digital
Aptos, CA -
[Dave LaRonde] “necessary things like the operating system.”
…stupid selfish operating system, learn to share like your mother taught you!
Darby Edelen
DVD Menu Artist
Left Coast Digital
Aptos, CA -
Use the text tool to type the text you want, then with the text tool still active right click on the text and choose ‘Create Outlines’ it should be the 2nd option in the contextual menu.
Darby Edelen
DVD Menu Artist
Left Coast Digital
Aptos, CA -
[dirkdiggler83] “wherein I have taken my actors and greenscreened/rotoscoped them overtop of the two different periods in time of the story.”
Well, I can tell you that one way that Gondry accomplished this in Sunshine was not through the use of any post effects, just imaginative use of narrative. He played a lot with repetition and perspective, both of which could (and probably should) be accomplished with reshooting the same scene in different ways (perspectives/performances changing).
After that I think all you have to be concerned with in post is any scenes in which the characters might see themselves in their memories (requiring split screen or roto/greenscreening) as well as a good effect to differentiate the past/present/future. I would suggest using different color palettes, increasing contrast, adding grain.
As for the ambiguous faces, yes I’m pretty sure he used prosthetics, you could come up with something similar if you just use stockings over the face. Anything you do in post to obscure faces is probably going to look obviously digital (which might be desired) or take far too long to be worthwhile.
Darby Edelen
DVD Menu Artist
Left Coast Digital
Aptos, CA -
I hear the oft-neglected Foam effect can give good results for simulating a swarm of insects.
As for the night look, I would definitely recommend working with Hue/Saturation and Levels. You’re aiming for a darker, bluer and less saturated look. You may also want to use Curves to bring some contrast back in to the shadows/highlights. You could also try laying a dark blue solid at the top of the layer stack set to Multiply, which will work much better if you turn linear blending and at least 16bpc on in your project settings.
Darby Edelen
DVD Menu Artist
Left Coast Digital
Aptos, CA -
Although I wanted to at first, there’s really no way to argue with the fact that interlaced 29.97 footage isn’t 29.97 (30) frames per second but rather 59.94 (60) fields per second. Each field was captured 1/60th of a second after the last, so no two fields correspond to the same moment in time. They’re all unique!… Just like every single one of us… sorry for the Mr. Rogers moment (;
Darby Edelen
DVD Menu Artist
Left Coast Digital
Aptos, CA -
[Dave LaRonde] “In this particular episode, Pixel Corps founder Alex Lindsay describes AND demonstrates the color resolution differences between 4-4-4, 4-2-2 and 4-1-1.”
And let’s not forget the ever present 4:2:0, which MPEG-2 and (by extension) HDV use.
I always like to go to Wikipedia for more information on a subject (hey, I haven’t been burned yet):
https://en.wikipedia.org/wiki/Chroma_subsampling
Darby Edelen
DVD Menu Artist
Left Coast Digital
Aptos, CA