[Filip Vandueren]

As far as “kill your darlings”:

granted that the sun and sky don’t look good, what’s there left in this shot ?

The sea and sand don’t look that compelling either, nor is the camera-movement grandiose.
Could you do without this shot, or replace it with a fixed shot: that would be of course a piece of cake to do a sky-repl on.
Is this view of the sea important in your continuity or could you just insert any library shot of the sea in there.

It’s difficult to tell from the compressed movie, but is there enough information there to do two color-corrections: one for the waves, and one for the sky, it would be fairly easy to mask out the sky and just enhance it a bit. You won’t get any extra clouds though, but the result could be a lot better than a shaky skyreplacement.

Good luck !

[Filip Vandueren]

Just a quick repost, because the comment in line 1 wrapped after posting: that would have given errors.

to recap:
use this code on the audiolayer,
if you have the markers on another layer, change the first line.


l=thisLayer;
t=0; i=0;

if (l.marker.numKeys) {
m=l.marker.nearestKey(time);
i = m.index-((m.time>time) ? 1 : 0);
t= (i==0 ? 0 : l.marker.key(i).time);
}
if (i>0) {
time-t;
}


Steve’s suggestion of using 2 different footsteps is a good idea BTW.

[Filip Vandueren]

Just a quick repost, because the comment in line 1 wrapped after posting: that would have given errors.

to recap:
use this code on the audiolayer,
if you have the markers on another layer, change the first line.


l=thisLayer;
t=0; i=0;

if (l.marker.numKeys) {
m=l.marker.nearestKey(time);
i = m.index-((m.time>time) ? 1 : 0);
t= (i==0 ? 0 : l.marker.key(i).time);
}
if (i>0) {
time-t;
}


Steve’s suggestion of using 2 different footsteps is a good idea BTW.

[Filip Vandueren]

I could write a script that uses the positions of two markers (for example on beat 1 and on beat 5) and it’s easy to calculate it from that.
Not sure if that would be truly accurate though.

Easiest way is to use a ‘tap’ application that finds the BPM you’re clicking at, while you listen to the music.

BTW: If you’re working with sequenced music, it’s safe to assume that the producer’s didn’t make it @ 136.16384 BPM, but just at 136 🙂

[Filip Vandueren]

Here’s the expression-way:

1. Add markers (* on the numeric keypad) to the footage layer, indicating where each footstep occurs
2. Apply time remapping to your “single-footstep” audio layer.
3. Extend the out-point of the audio layer to the end of the comp.

4. Give the time-remapping property of the sound-layer this expression:

l=thisLayer; // change this to the layer that has the markers. just select 'thisLayer' and then pickwhip to the layer.

t=0; i=0;

if (l.marker.numKeys) {
m=l.marker.nearestKey(time);
i = m.index-((m.time>time) ? 1 : 0);
t= (i==0 ? 0 : l.marker.key(i).time);
}
if (i>0) {
time-t;
}


That should do the trick.
If you actually apply the markers to the Audio-layer, you don’t need to change the first line of the expression.

[Filip Vandueren]

Here’s the expression-way:

1. Add markers (* on the numeric keypad) to the footage layer, indicating where each footstep occurs
2. Apply time remapping to your “single-footstep” audio layer.
3. Extend the out-point of the audio layer to the end of the comp.

4. Give the time-remapping property of the sound-layer this expression:

l=thisLayer; // change this to the layer that has the markers. just select 'thisLayer' and then pickwhip to the layer.

t=0; i=0;

if (l.marker.numKeys) {
m=l.marker.nearestKey(time);
i = m.index-((m.time>time) ? 1 : 0);
t= (i==0 ? 0 : l.marker.key(i).time);
}
if (i>0) {
time-t;
}


That should do the trick.
If you actually apply the markers to the Audio-layer, you don’t need to change the first line of the expression.

[Filip Vandueren]

My best wishes for all those people who make me wonder:

“how do they find the time to be so open in helping these people… don’t they have a real job ?” 😉

But then I see a question on the cow that poses a challenge to me, and I start working on it for three hours, just to find that elusive expression or combination of filters! 😎
And then I know again what this community is all about:

share, people !

A colleague of mine saw the 3D CD-case project I made a while ago, and said: you didn’t post that on the Cow did you, you’ll loose jobs over that, I said: of course I put it on the cow 😎

2006 will be a great year for the cow, I predict humongous succes for the site and the mag, and who knows: a vodcast.

The strength of the cow remains that Ron can keep this monster online with the proper advertising, without burrying the content behind 2000 banners, thus giving all these brilliant people the room to share knowledge.

a specal dedication (besides Ron and Kathlyn) goes to Franklin for launching the podcast: the amount of energy that must go into doing that stuff…

Oh, and Ron: “lokkich nijjier”

[Filip Vandueren]

My best wishes for all those people who make me wonder:

“how do they find the time to be so open in helping these people… don’t they have a real job ?” 😉

But then I see a question on the cow that poses a challenge to me, and I start working on it for three hours, just to find that elusive expression or combination of filters! 😎
And then I know again what this community is all about:

share, people !

A colleague of mine saw the 3D CD-case project I made a while ago, and said: you didn’t post that on the Cow did you, you’ll loose jobs over that, I said: of course I put it on the cow 😎

2006 will be a great year for the cow, I predict humongous succes for the site and the mag, and who knows: a vodcast.

The strength of the cow remains that Ron can keep this monster online with the proper advertising, without burrying the content behind 2000 banners, thus giving all these brilliant people the room to share knowledge.

a specal dedication (besides Ron and Kathlyn) goes to Franklin for launching the podcast: the amount of energy that must go into doing that stuff…

Oh, and Ron: “lokkich nijjier”

[Filip Vandueren]

Rotate using the “distort->transform” filter, then apply a bevel after that.

you can copy the keyframes or expressions from rotation to the rotation parameter of the effect.

[Filip Vandueren]

Rotate using the “distort->transform” filter, then apply a bevel after that.

you can copy the keyframes or expressions from rotation to the rotation parameter of the effect.