Darby Edelen
Forum Replies Created
-
[Walter Soyka] “Use time remapping [link] instead of applying the Time Warp effect.”
Walter’s right. Time remapping works to re-time keyframe animations in nested compositions in After Effects.
Make sure you don’t have “Preserve frame rate when nested or in render queue” checked in the Advanced tab of the nested composition’s settings. By default it’s disabled and that’s almost always a good thing 🙂
Darby Edelen
-
The shadow map resolution for a given composition are set to that composition’s size by default. When you preview the comp at a smaller size (Half resolution for example) you’ll have a smaller shadow map resolution. In your case it sounds like that is helping to hide the issue.
You can manually change the shadow map resolution in Composition Settings > Advanced > Renderer: Options…
Alternatively you might try moving your light so that the layer is pointing more directly at it.
Darby Edelen
-
Is the cylinder a primitive? The parametric primitives (cube, sphere, cylinder, etc.) all use the axis as the center point from which to generate the object.
If that’s the case you can either convert the cylinder to polygons (‘C’) or group the cylinder under a Null object whose axis you can change.
Darby Edelen
-
Looks like bleach bypass. The basic approach I like to use for a bleach bypass effect is to apply the Tint effect to an Adjustment Layer above my footage and set its blend mode to Soft Light (less intense) or Hard Light (more intense). You can change the Opacity of the Adjustment Layer to change the intensity of the effect as well.
This is not enough to finish a shot, you’ll still want to do color correction and may want to add some effects (blurring? sharpening?). You’ll get a different look if you apply them before or after the bleach bypass adjustment layer.
Also the way that the footage was originally lit will have a huge impact on the final look. Here are a couple of different looks that incorporate a bleach bypass effect for reference:
Darby Edelen
-
If your footage doesn’t have an alpha channel (and I don’t think Riot Gear does) then you need to create an alpha channel from the black/white matte. My favorite way to do this is to use the Channels > Shift Channels effect and set the Alpha property (the first drop down) to Luminance.
Then you can use the Generate > Fill effect as previously described.
Darby Edelen
-
The AND and OR operators are: && and || respectively. Here’s the complete list:
https://www.w3schools.com/js/js_comparisons.asp
Darby Edelen
-
[Daniel Schmidt] ” When I select the option “Suppress Color Profile Warnings” while using batch processing, how does Photoshop handle images that have a different color profile than the current profile? Does it use the file’s profile or does it convert the image to the current profile?”
I believe this will depend on what your Color Settings (cmd/ctrl-shift-k) define under Color Management Policies. I think the default is to use the embedded profile instead of the working space.
Darby Edelen
-
I’m curious. How did you manage to get around the terrible errors in DNxHD superwhites when working in 32bpc in After Effects?
Darby Edelen
-
[Jon Iverson] “Problem solved. Created an action in Photoshop to do what I wanted to, then used Virtual Dub to convert the video to an image sequence, allowed PS to do the custom sharpening, and then Virtual Dub to reassemble the images back into the video.”
Alrighty, but you could’ve done everything that’s in that tutorial directly inside of After Effects. It’d render faster and be much more straight forward as well.
Darby Edelen
-
[Walter Soyka] “You might like Darby Edelen’s excellent technique for high pass in Ae:”
I’ve changed my wicked ways 🙂 I usually just use Unsharp Mask now since it’s virtually the same result but faster to apply.
You can apply Stylize > Find Edges to a copy of your footage and use this as a luma matte for another copy of your footage with Unsharp Mask applied to follow along with the tutorial you linked to (applying the appropriate blurs and levels adjustments).
However, I’d just apply Unsharp Mask and use the Threshold parameter to reduce the sharpening in lower contrast areas (basically what the Find Edges operation would do).
Again, if you want to follow the tutorial directly you’d set the Unsharp Mask copy of your footage to the Lighten blend mode.
Darby Edelen