George Goodman
Forum Replies Created
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I think what you need is an expression to link the flashes to the overexposure of your subject. The problem for me is that I wouldn’t know how to extract the data since your flashes are derived from footage rather than an effect. There is probably some way to get the luma value of the flash footage into keyframes much like how you keyframe audio, but I wouldn’t know how to do this.
If you can get that value though, you could write and expression that would tie the overexposure effect to the luma value of the flash footage.
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Animate the mask path property
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For clarity, are the flashes coming from footage or an effect in AE?
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Why not just change it in the comp settings?
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Use Pluraleyes to automatically sync your audio track with your collected onboard audio:
https://www.redgiant.com/products/all/pluraleyes/
You’ll want to pay attention to your camera to make sure you catch the exact moment it cuts off. This is definitely a big weakness of DSLR’s. The last thing you want is a line of dialogue that’s gold that you didn’t catch on video. That said, get lots of b-roll (sometimes them smiling or laughing is enough). That way, if you don’t have the video of them saying something, but you have the audio, you can still use it and just cover it up.
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Not going to be a great answer to this one. I would suggest using a background with green in it.
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Just never took the time to get in there. For final drafts, I always want a full quality lossless animation first anyway. That way I can compress it to anything I need later. So what’s the difference if I’m using mpeg streamclip for my h.264? I suppose I could set up a queue and that might be a little faster, but I’m really looking for advice on settings.
Obviously I should have done a 2-pass, but do you think 6000kbps is too low? My understanding is that’s a good rate for hd streaming. Do you think I can achieve better results with x.264 than I am?
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Try creating another solid with a particle layer. Change the blend mode to silhouette alpha. This will cut out the shape of the particles. Adjust it so it takes over the screen as you like. Precompose and place it on top of the next shot.
Hope that’s helpful. Let me know if this works.
George
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Yep, that was just what I was looking for.
Thanks!
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You know, I suppose I actually could use a solid and work backwards for this. I think it would solve this individual problem, but I’m just curious if there would be another way for future reference.
Thanks
Why RTFM? Someone already answered it in more detail on the web.