Doyle Lewis
2
After Effects Coins
4
COW Coins
Forum Replies Created
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What is the resolution of your project? It could be that it is simply too low. Instead of using a solid layer as the line I would just draw a mask line between the two points and use generate stroke effect to give your line the thickness and color you want.
Doyle Lewis,
Assistant Location Manager
Warner Brother Pictures -
Did you set your project to 32 BPC (Bits Per Channel) will increase the number of bits used to create your colors allowing you more steps between your bands. you can change your bpc on the bottom of your project tab.
Doyle Lewis,
Assistant Location Manager
Warner Brother Pictures -
13458_flagclotheslinerotation.aep.zip
Above is a project I have made that rotates the flags on the wire so that the tips of the flags always face down like they would due to gravity. You are free to use the project however you like. I like to put all the elements in a pre-comp and make a control layer at the top so that the elements you use to customize or keyframe the image are all in one space. My control layer has an option for rotating the wire with the flags in any direction, I wouldn’t suggest rotating it more than 60 degrees either direction as the masks for the triangles start to detach from the wire at that angle. You can also change the color of the wire and the color of the outline on the flags by changing the wire color control and the Flag outline control. You can also change the repeating order of the color of flags by changing the colors on the control layer labeled Flag1, Flag2, Flag3 and Flag4.
To explain how it was created:
I have a wire that is a solid layer scaled down in the Y direction to a thin thickness so that I guarantee that my anchor point is in the center of the line . This is then pre-comped so that when I parent my flags to it the unlocked scale transform won’t effect the flags. Each flag is a large triangle made with a mask on a solid that extends far past the wire line under the wire so that the wire sits on top of the flags. Every flags anchor point is set in the center of the triangle where the triangle crosses the wire. I then have an adjustment layer over the flags that has a linear sweep at 50% transition and a 180 angle so that it cuts flags from the front half of the screen down. Then in the wipe angle i wrote the expression,
180+thisComp.layer("wire").transform.rotation
so that as the wire layer rotates the wipe angle rotates with it cutting the flags off where they touch the wire. Then for each flag I parented them to the wire so they would move with it when it was rotated. After that, in each flag’s rotation I put in the expression,
-thisComp.layer("wire").transform.rotation
which would just turn whatever the rotation of the wire was to the negative value of that angle so that the flag always points down. Lastly I just pickwhipped all my elements I wanted to be editable to effects on a null that I named “Control Layer.”Please let me know if you run into any difficulties using this
Doyle Lewis,
Assistant Location Manager
Warner Brother Pictures -
If it is a video for a video game, is the footage a 3d render or live action? If it is a 3d render could the original artist export out the 3d Camera data to you? If so that would obviously give you the cleanest most accurate results.
Doyle Lewis,
Assistant Location Manager
Warner Brother Pictures -
If I understand correctly you have a sequence of shots that pan through a room and you want to turn that into a digital track but you do not have a 1 pic to one frame ratio? so you can’t just stitch them together to make your track?
If so what I would do is lay out all your pictures in a frame that is your final output size (1080 or 720 or whatever it is) then in your comp lay out all your photos in the order you want to switch between them where it is 1 frame for every picture. You should now have a short video that just flicks through each picture really fast. Precompose the whole thing and time remap the precomp to the length you want and then turn on frame blend for both your project and on the precomp. Then boom it will interpolate between each picture. Depending on how similar each picture was both in camera level, lens length and camera height you should have a pretty nice digital track across the room. you can also always adjust your photos in the precomp in order to make the transitions smoother
Doyle Lewis,
Assistant Location Manager
Warner Brother Pictures -
Are you able to share the footage you want to put this effect on?
Doyle Lewis,
Assistant Location Manager
Warner Brother Pictures -
13419_bouncingball6719update.aep.zip
Doyle Lewis,
Assistant Location Manager
Warner Brother Pictures -
Hello Everybody,
It has been a while since I last posted. I have since logged back on and started looking through my old posts. In doing so I noticed that this is still a pretty active post comparatively and is easily my post with the most downloaded files. I saw that some people wanted a version of the file where they could adjust the timing of the bounces. My last version was very sloppy with how it handled bounce timings so I rewrote the expressions from the ground up to give you more control. changes listed below:
Now there are only 2 keyframe-able variables which exist like they did last time on a control layer on the top level. Update now has no bounce speed variable so you keyframe the horizontal slider to where it needs to land at the time it needs to land and it will bounce between keyframes. The height at which it bounces up to is both adjustable and keyfram-able (The expression looks at the bounce height variable value at the last horizontal slider keyframe to decide its bounce height for that bounce.) Vertical level is also still in the control layer so that you can adjust the bounce floor depending on your text placement and font size.
So just like that you can easily knock out sing-a-longs and be sure the ball bounces on the syllable at the right time easily. Hope this helps some people who find this thread through google searches.
13419_bouncingball6719update.aep.zipDoyle Lewis,
Assistant Location Manager
Warner Brother Pictures -
So, I made an attempt project file. Is it perfect match? no. But it could be a good starting point for you to dial down to the look you were aiming for. To edit the text just click the text box and type whatever you want and choose whatever font, it is just a simple Alpha Matte. To mess with the grid though you can go into the precomp and fiddle with the different effects I used, but for just minor adjustments and styling I have created a top level control layer. You can play with the slider here to adjust the size and roundness of the lights, how fast they animate and what color you want them to be all without having to open up precomps or change settings on multiple layers. I try to build all my comps this way, that way making changes for clients or bosses or even new projects is snappy.
anyways hope this gets you started,
P.s. I built this so that it will work in AE CS2 and further for anyone who wants to use this effect but has an old copy of AE
Doyle Lewis,
Location Assistant
ABC Studios -
So yes, It definitely was in the way it was shot. Not only was the lighting probably not right, looking at it, it looked like you probably had him standing too close to the green screen. The closer someone stands to a green screen the more green spill that is cast on them. To that point the further you can put them from the green screen the better, this means you actually usually need 2 light set ups. When I set a green, I use 2 to 4 lights (and softboxes) to create a even wash across the screen. Then put my subject no less then 7 to 10 feet from the green screen. I use one hard light behind the screen to shoot the back of his head as a rim light and usually a single softbox as a key. If able I also use different temps for my subject and screen lights. My wash lights I generally do daylight balance to sort of push the screen to cooler colors and I use tungsten balanced for my subjects light so that the reds in his skin separate better from the now cool bluish green screen. Just gives a bit more distinction for your key to use.
My last piece of advice is probably the easiest but makes THE MOST DIFFERENCE and is probably the #1 mistake new shooters make in this sort of talk to camera video. If your plan is to have someone talk with the infinite white background… then shoot it on a white background. Shooting a white background is just as simple as shooting a green and then you don’t have to do any keying at all. What you capture on camera is what you get.
Here is a white backdrop for $12. Just drape it over whatever you have your green screen draped over. I promise you no green screen infinite white shot by anyone has ever looked as good as white screen infinite white.
Doyle Lewis,
Location Assistant
ABC Studios