Jason Milligan
Forum Replies Created
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How prominent is this double-chin?
Is it a head-on shot, profile, both?
Cloning and liquefy could be used to solve your issue if her second chin isn’t too monstrous. -
Have you checked your color settings?
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How realistic does it need to be?
If it is a quick shot, you can fake it with CC Cylinder and some well placed circular solids. -
it sounds like your employer’s IT or Operations department didn’t do their research. It was well-documented and publicized that when Apple switched to Intel, older software would be forced to run under Rosetta, essentially a Power PC emulator. You can not effectively run Power PC software on an Intel Mac. When AE CS3 came out, it was a godsend for my office because we were using AE 7 through Rosetta on Intel Macs. That upgrade made an enormous difference. My multiple crashes per day disappeared and everything ran much faster, sometimes ten times faster.
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I’m not trying to facilitate an argument here, but this is a common misconception in art and digital art, “the right tool.” The answer is the “right tool” is the tool that works best for you. A lot of people spend a lot of time trying to figure out what ideal toolset they need to make great things and never make anything. Meanwhile, some guy (or gal) with the “wrong toolkit” makes fantastic stuff.
Personally, I would use Flash to create the animation. That’s because I’m comfortable in Flash and could do it rather quickly and effectively that way. I know other people who would probably build a layer sequence in Illustrator to accomplish this, or draw them on a light board and scan them into Photoshop. None of us would be right or wrong.
Do you own a piece of software you feel comfortable using that you can use to do this? If the answer is “yes,” that is one of many “right tools.”
By the way,
if I didn’t own a screwdriver, I’d definitely use a butter knife to tighten a screw. -
If you look closely, you can just make out where the cuts are. I think most of the work here is in the shooting and editing, not post FX.
Follow the first skater with the camera, stop, pan to where the next shot will begin. Stay in that spot. Start shooting again when the skater is ready. Redo the pan from the prior shot and start following the skater. Stop, pan, tilt, whatever you plan to do. Start again.
The overlapping panning, tilting, etc. will make matching up the shots easier. Some quick fades or slight time-remaps can help sell the transitions if they are too abrupt.
That’s my guess.
The last shot is 3 separate shots masked together. Notice, the camera doesn’t move.
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Why does it matter what software Andrew used specifically?
The animations could be created in Flash, Photoshop, After Effects, or any other number of applications with a timeline. Is your question “how did Andrew do it” or “how do you animate?” -
It’s listed on the Features page so it should be included.
I’d contact Adobe and try to work it out.
I’m interesting in hearing your results since I’ll be needing the same functionality soon also. -
Set all your layers to “orient towards camera” and you shouldn’t need an expression.
You should be able to just rotate the null in that case. -
PSDs are also and option, the latest versions of InDesign have some new features to make using PSDs even more versatile.
The following info regards working in print (if your work is for web, this may not apply):
In regards to JPEGs and other lossy formats, I recommend avoiding them when possible. At the very least, if you are working with a JPEG or GIF, convert them into a new format such as TIFF or PSD. The reason I say this is because JPEGS are compressed in a way that kills data. Each time you save to JPEG you are further compressing that file and losing more data meaning you lose quality, something that becomes very apparent when printed.