[Filip Vandueren]

Are there any Expressions or a lot of Parenting going on ?
Be sure to bake your expressions as soon as possible.

[Filip Vandueren]

Are there any Expressions or a lot of Parenting going on ?
Be sure to bake your expressions as soon as possible.

[Filip Vandueren]

You need QT-pro to watch a movie loop or pingpong in the movieplayer application, but that doesn’t affect the movie itself, just the way you’re watching it.

[Filip Vandueren]

Try to use a virtual camera that has the same focal-length as the shot footage, so don’t use a widescreen lens in a tele-shot.
Don’t overdo motion-blur if there’s not much motionblur in the shot footage (so try to figure out the shutter-time of the shot footage)
choose a scale (fex. 50px= 1ft) and try to place the camera at the correct height as it was on the shoot, and the orb at the correct distance from the cam.
You can even put some vertical solids out cut-out people at the corresponding positions of the actors to get a feel of whether the perspective is lining up.

(If you didn’t jot down dimensions of the set, cameraheight, focal distance etc. during the shoot, then you’ve learned a lesson I hope 😉

Shadows cast by the orb, and blending the surrounding colors into the orb will add to the believability. As will adding the appropriate amount of grain.

I hope the camera is locked down, otherwise you might as well fake it in 2D IMHO

[Filip Vandueren]

I love the “Add To movie” and “add scaled” commands.

makes it possible to add a soundtrack to a movie, or try adding a widescreen-matte to a 2Gb Quicktime movie without having to re-render. With Quicktime pro you can just render out a widescreen-matte with alpha, and add it on top of the movie.

Hit save and you’re done.

Also very quick for extracting sound out of none-multiplexed movies.

[Filip Vandueren]

Look into the render engine and watch folder.

[Filip Vandueren]

To have a layer exactly in front of the camera do this:

• make it a 3d-layer
• make it a child of the camera
• copy the Zoom-factor of the camera (double-click the camera to get it)
• set the layer at position (0, 0, zoomfactor)
• set all the layers rotation and orientation properties to 0
• [ break the parent-child link between camera and layer ]

this assuming the layer is the same size as the comp, has a scale of 100% and has it’s anchorPoint still at (50%,50%)

[Filip Vandueren]

I believe Steve meant going frame by frame through a video-layer that’s slowed down 200%

[Filip Vandueren]

Well he has Trapcode, obviously.

I’d use Invigorator to create subtle extrusions and bevels that catch light-sources, so you get shininess on your layers, and then throw a trapcode Shine or Starglow on top of all that (adj. Layer) with a pretty high threshold so only those specular highlights get an extra glow.

Of course you can use some heavier starglows and shines on other layers.

And experiment with putting lights in your scene so the layers catch the specular highlights in just the right spot.

[Filip Vandueren]

A keyframe that ‘looks’ linear, has linear interpolation in the time domain.
It’s perfectly possible to have linear time-based interpolation along a bezier or auto-bezier position-path.
That’s what you’re seeing.

And it’s the position-aspect that’s ruled by the preference, not the timing.