James Archibald
Forum Replies Created
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Irregardless of the footage (there is rhyme to the reason, i promise) this issue has cropped up several times lately.
• Archie •
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Sorry for not being clear. I definitely want to keep the real-world camera movement. It’s a ‘studio’ setup and was shot on a jib to get that floaty studio feel. I personally find it rather garish, but the character is a bit of a bellend, so it suits him to flaunt in such a way.
To get the track, I precomped him, masked out the Boom and his upper half which is quite animated. His legs remain firmly planted throughout, and I assumed that having the legs plus the tracking crosses should allow for a clean track.
It solves okay – the tracking points are where they ought to be, but when i create the tracker camera things get a bit weird. I built the 3D set with the intention of having the character at the 0, 0, 0 mark, but without being able to manipulate him in Z space, I can’t figure out how to position him or the world in order to avoid floaty-feet-syndrome. It’s not like I can just parent him to a 3D tracker null – he’s 2D and moving independently.
I’ve come up with a solution in which I the 3D tracker camera I currently have, but then separately mocha-track his feet, taking the transform info from that onto a null and then using it to remove the camera move from his shot using the following expression:
p = thisComp.layer("leader").transform.position;
value + [p.valueAtTime(0)[0] - p[0],0]Once I have him static in a frame, I bring that comp back into my 3D scene and I’m able to make him a 3D layer, effectively putting the previously tracked camera from his shot back onto him, but this time I’m able to move him in 3D to match my Element scene.
It seems like a daft workaround, but it’s worked.
• Archie •
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I’ve always noticed slight performance hits on Macs, but this definitely seems to be far too big a drop to just come down to an underpowered system. Is this happening regardless of the project, just to rule out a codec issue with specific footage?
• Archie •
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Well almost certainly yes, there is, but again without further information it’s difficult to know what to advise.
What are the elements you’re working with? Is it just a flat animation or do you have layers in place?
As long as your waves, your fish and your background are all on separate layers then their masks will function independently of each other.
Or are you working with real footage?
It’s impossible to tell what the composition is like from what little you’ve said, I’m afraid 🙁
• Archie •
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Hmmm. Not entirely sure I’m following here… It sounds like you may be looking for track mattes for the waves and background(?) which would easily allow you to control their opacity independently of everything else, but I can’t be certain that’s what you’re after.
Can you explain the composition & elements you’re working with a little more clearly?
• Archie •
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Looks like a lot of shape layers with strokes and ‘trim path’ animators. Not overly complicated, but nicely executed
• Archie •
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The simplest way is to get both effect properties open in the timeline (corner pin with keyframe data & a fresh power pin) then one by one select each property of the corner pin and copy it onto the corresponding property of the power pin (Upper Left –> Top Left, etc…)
Make sure you’re at your first corner pin keyframe whilst copying, or it will paste offset to the timing of the footage.
Once done, disable or delete the corner pin effect, leaving the power pin with its pasted data.
Alternatively, what I tend to do is use an expression on each of the four corners of the power pin telling it to use the corner pin’s data i.e.
effect("Corner Pin")("Upper Left")
Then turn off, but don’t delete the corner pin. This way if you have any further tweaks in Mocha, you can just paste the new data onto the Corner Pin and the Power Pin will automatically update.Hope this helps, mate.
• Archie •
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Have you only tried it with the red solid so far? Try turning on constant raster and see if that resolves it. Otherwise, Power Pin is motion blur aware in AE CC so you can transfer your ordinary corner pin data to that and use motion blur that way as opposed to using mocha’s motion blur data.
• Archie •
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Hey Tomer,
Try this:Duplicate the layer you want to cast shadows, put a CC Radial Fast Blur on it, set the Zoom to “Darkest” and the blending mode to multiply.
Add an expression to the Radial Blur which sets its center position to the same position as your optical flare.
Add a further fast blur to soften the shadow edges and then adjust the Radial Blur’s amount until it looks good!Hope that works for you,
• Archie •
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Yikes, NTSC standards are messy!
But yeah, Premiere is usually pretty sane with its handling of different framerates on a timeline. It should playback uniformly, adding extra frames to keep up (with the option to blend them during export). Check your prefs and project settings.
Why the framerate increase in the first place, out of curiosity? I understand the increase in resolution, but what’s the advantage of going to 59.94?
• Archie •