Iancorey
Forum Replies Created
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The only time I ever did this, there was a miracle of good luck.
The key light just HAPPENED to be coming from the direction that the gun barrel faced. When the muzzle lit up, I cranked the bright/contr for one frame and this put the realistic flash in the room. This was all done in FCP before I knew the awesomeness that was AE.
So, if possible, light from the gun and hope for the best.
See:
https://redstarkgb.com/sevenday/balto_week_3.shtml -
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American Night?! How racist!
This is actually something that you need to consider while shooting. Certain light techniques will make our method of “Blue Solid in Overlay” look like a more realistic “European-style” night.
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SHIFT+A displays the Anchor Point parameters in addition to whatever params are already open. That’s why it stops.
I think.
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For the most customizablity, you might wanna hand-keyframe this. Usually, the shutter-jitters are really quick anomalies.
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For the most customizablity, you might wanna hand-keyframe this. Usually, the shutter-jitters are really quick anomalies.
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Two options.
Place the image in a comp, double click the mask tool. Twirl out the mask settings and set the Mask Expansion to negative.
OR
Use Simple Choker in Effects > Matte.
Hope it works!
ian
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The best and easiest way is to dub your final product to VHS and then back to 1’s and 0’s. Don’t forget to cut off your sleves.
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Doesn’t sound like “random change” if you want it to maintain a specific shape. Random shape is where you have no control of whether it turns into a square or a circle or a blob or a snake.
If you’re really doing that snake thing, you should animate a single, thick stroke on the layer ABOVE the media and then use a reverse-alpha track matte (F4) to reveal the media.
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Doesn’t sound like “random change” if you want it to maintain a specific shape. Random shape is where you have no control of whether it turns into a square or a circle or a blob or a snake.
If you’re really doing that snake thing, you should animate a single, thick stroke on the layer ABOVE the media and then use a reverse-alpha track matte (F4) to reveal the media.