Darby Edelen
Forum Replies Created
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This is under the Functions menu in the Timeline panel on r13. Hopefully that helps you find it in r12 🙂
Darby Edelen
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Have you tried pre-composing the stabilized footage and then running the motion track on the pre-comp up a level in the parent comp?
Darby Edelen
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[gerad gray] “appear only on non-transparency in my comp, but I want it to assess transparency all the way down, without precomposing my layers and using a track matte.”
The way you’ve phrased it has me a little confused. It sounds like you want the ‘Preserve Transparency’ layer switch. This will make the layer only appear where there is alpha in the layers below.
Darby Edelen
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[Evan Robinson] “How to professional companies do this? Do they use something like the red giant plugin? I don’t think it is possible to get the shadow correct if the layer is 3d. I think that the shadow layer must be 2d, and 2d motion tracked to the feet, would this work?”
Generally I’d expect high end productions to do a separate key to pull the shadows from the green screen.
Darby Edelen
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Can you upload a still image of your troublesome shot? Pick the most offensive still frame you can… green spill-wise anyway.
Darby Edelen
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The problem with only parenting to the camera is that your actor layer will always be the same distance from the camera, which will not place it in the 3D scene properly.
You might be able to more accurately place the 3D actor layer using some of the track points, but in order to eliminate doubling up on the real camera move you’d have to use some heavy duty trickery, it may not even work. I’d start by trying to auto-orient the 3D layer to the camera, then I’d add an expression to scale the 3D layer to keep it the correct size. I haven’t tried this, and it’s likely that it won’t look entirely correct.
I’d probably use the 2D actor layer and create a 3D actor layer to cast shadows only. Of course, as described above, you’d have to figure out how to get this 3D actor layer to occupy the right space and orient/scale itself properly.
Darby Edelen
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[Roger Burton] ” My new client has asked me to export as above ie over 10k bit rate, I’ve been rendering out of AE as H264 but the only button I can find (in the AE renderer) is a tick box to limit the rate to 1,000 kb/s … should I render out using ‘animation’ and convert to H264 somewhere else … advice please ?”
Rendering out lossless is a good workflow regardless of any limitations in AE’s output options that you find. The main reason I recommend rendering lossless is because you’ll have a master file that you can encode to any format you need (provided you have a suitable encoder) without having to re-render from AE.
That said, if you’re trying to render an H.264 out of AE make sure that you do not use the QuickTime format. Set your format in the output module to H.264. This gives you more control over the encoding.
However, given the advantages of rendering a lossless master, I’d recommend going that route and then using either QuickTime Player Pro or Adobe Media Encoder to encode your H.264. I believe Adobe Media Encoder gives you more options, but does not allow you to save the H.264 stream in an MOV wrapper.
Darby Edelen
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[Rachel Nelson] “there’s a few large holes in his pants.”
That’s happened to me before. I kept losing change out of my pockets. Had to throw the pants away and get new ones. I suppose it could’ve been worse though.
The only solutions I can think of would work best if you to create separate keys for the trouble areas (pants and shoes). Then you can be more specific with your keylight settings to try and retain the areas with spill.
Also the despill/alpha bias may help you. Work in the “source” view and select a color in the pants that should be solid but isn’t. You’ll likely have to pull this bias back a bit, which you can do by reducing the saturation of the despill/alpha bias color. I’d set the bias on the pants key and shoes key only, and set them individually for each.
Darby Edelen
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What resolution is your video? How is it encoded?
Darby Edelen
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Well, either the track isn’t as good as you think it is or the location and orientation of the solid doesn’t quite match the floor.
Also the actor layer being 3D and parented to the camera may cause strange results in some cases. I recommend leaving the actor layer 2D.
Darby Edelen