Darby Edelen
Forum Replies Created
-
[ste hardy] “I thought I could do it by animating damping up to 1 but that is not working.
also I would like there to be several concentric ripples but only 1 central splash, as if a stone or raindrop has hit the water. does anybody know if this is possible?”A constant Damping value should work for you. What that constant is will depend on a couple of other properties.
The property you’ll want to animate for the single splash is the Amplitude of the producer. Animate this from 0 to 0.5 (or some other value) and back to 0. In general for a single splash I’d do this over 3 frames (frame 1: 0, frame 2: 0.5, frame 3: 0).
The amount you set your Damping to will depend on the value you entered for your Amplitude as well as the Wave Speed and the Ground Height. I found that 0.5 was a good value for Damping with all other settings at their defaults and the 3 frame animation of the Amplitude.
In addition you’ll want to feather the edges of the solid to 50% gray to be sure following either Kevin or Vishesh’s direction.
Darby Edelen
-
[Oscar Salas] “This is WEIRD. If someone have the answer i’ll appreciate A LOT. I tried playing around with the frame rate (60) by adding 30 but IT’S the same problem.”
Is that the frame rate you set in Cinema 4D? My guess is that you need to interpret your imported sequences as 60 frames per second in After Effects.
Darby Edelen
-
Some of the Key effects use differences in the color channels to achieve the key (Keylight, Color Difference Key, etc.) and these won’t work in this case. You could use some of the other Key effects but you don’t really need to.
Since you have what appears to be a black/white image already you basically have a matte, you just need to shift that matte from the RGB into the Alpha channel. You could do this in several ways:
1) Create a new black solid below the image, set it to use the top image as a Luma Inverted Track Matte.
2) Create a new black solid, apply the Set Matte effect, point it to the image and take matte from Luminance.
3) Apply the Shift Channels effect to the image and set Take Alpha From to Luminance.
Those are just a few other options.
Darby Edelen
-
It’s obviously not that they’re trying to vex you and everyone else in the AE community, I’m sure there are technical challenges to implementing this.
My workaround has always been to use Animation > Keyframe Assistant > Convert Expression To Keyframes on any of these expressions before my final render.
Darby Edelen
-
This would be a setting in Cinema 4D rather than After Effects. I’d ask in the Cinema 4D forum.
Darby Edelen
-
[Matjaz Molnar] “I have a simple table made out of a cube, just to test things out.
I did put collider tag (moving mesh) on the table and rigid body (apply to children) to the balls.”I recommend using Static Mesh instead of Moving Mesh, unless you’re animating the position of the Table.
Also look into the Project Settings > Dynamics > Expert tab. Increasing the Steps per Frame here some will probably help.
Also for the pool balls themselves I recommend using the Convex Hull collision shape and setting the Sphere types to Octahedron.
The Octahedron will have more regularly distributed flat surfaces for the balls to rest on where as the Standard Sphere has quads of varying sizes and orientations.
Darby Edelen
-
[Sam Freeman] “Ok, so I’ve got the TIFFs and they look great. I’ve found a workaround in that I go into photoshop, run a batch file convert on the TIFF to convert them into 16bit and remove the colour profile.
I can then turn these TIFFs into a ProRes file to show the client using FCP and it retains the majority of my look.
But surely this can’t be right? Seems a bit cluncky.”
You should be able to do any adjustments you’re making in Photoshop within AE instead. Have you tried setting your output module’s color settings to something else? What you’re describing in Photoshop, for example, sounds roughly like “Preserve RGB” in the output module.
The benefits of 32bpc are not in the delivery. There are very few formats that allow you to store 32bpc (or equivalent) and most of these are intermediate or cinema formats (not video). The benefits of 32bpc are almost entirely in the latitude that it provides you while working with the footage: compositing and color correction.
Retaining “the look” shouldn’t be too much of a stretch of the imagination since the output on your display is already not 32bpc.
Darby Edelen
-
[Sally James] “Again, I will only be adding Twixtor (32 bit effect) and CC Force Motion Blur (8 bit effect) to the 32 bit compositions. Then each clip will be rendered out at highest quality and archived.
Is HDR compander necessary for this type of work? If it is needed how should I add it?”
The HDR Compander may help you… or may not. It really depends on the footage. Essentially applying an 8bpc effect to your footage is going to force whatever colors are in that footage into 256 color values per channel (8 bits per channel). If you can use HDR Compander to get the most out of those 8bpc then that’s great.
Generally speaking HDR Compander becomes most useful in situations where the footage either has superwhites or does not have evenly distributed color values (e.g. a dark underexposed shot).
The way I recommend using HDR Compander is to apply two instances of it, the first set to Compress Range and the second set to Expand Range. You can optionally link the Expand Range Gain and Gamma to the Compress Range’s values as you’ll always want these values to match.
Just after the Compress Range instance of HDR Compander I apply a Levels effect. This shows me the distribution of colors in the image after the range has been compressed. This allows me to make smarter decisions about how to bend the values with the first instance of HDR Compander. The goal should be to make the histogram as even as possible without clipping either the black or white points. Very often this will mean pushing both the Gain (to adjust white/black clipping) and the Gamma (to more evenly distribute the range of values among the available bits).
The last thing I’ll mention is that CS6 includes the 32bpc version of CC Force Motion Blur, so now you have another reason to upgrade 😉 Also Timewarp is 32bpc and has a decent “Motion Blur” option that may work for you.
Darby Edelen
-
For the orthographic views I highly recommend using the camera tools to navigate around instead of the hand tool.
Darby Edelen
-
Generally I never use more than 1/2 of my cores for Render Multiple Frames Simultaneously.
Also, double check that you’re using the older “Classic” 3D mode and not the Ray-traced Renderer (I doubt this is your issue).
Darby Edelen