John Paterson
Forum Replies Created
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With the source video on layer 1, duplicate the layer twice, then use the upper layer as a luma key to key in only the part of the picture that needs adjustment on layer2 . Then you can use curves or levels to adjust layer 2. Then precomp.
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The best way I’ve found is to use video footage of cigarette smoke, shot against a black background. You should be able to find some online. The first thing to do is create a new document in aftereffects and import the smoke footage into the timeline. Smoke rises, so rotate the smoke layer by 180 degrees so that it now falls like ink. Create a new black layer and move it to the bottom of the composition. If you want to have blue ink on a white background, create a new yellow layer positioning it between the black layer and the smoke layer. Select the yellow layer and then click on the TrkMat control and select “Luma Matte” so that the smoke becomes yellow. Select all layers and then select Layer>Pre-Compose then OK to flatten the layers. Then select Effect>Channel>Invert and there you have it, blue ink against a white background.
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Further investigation has shown that it is indeed possible to force FCP to do an autosave to the Autosave Vault. To do this open the User Preferences by pressing Alt+Q. Go to Autosave Vault>Save A Copy Every and enter a time of Zero minutes. This will force FCP to do an Autosave immediately, and it will also reset the Autosave time to the minimum of 1 minute. You should then reset the Autosave time to something more usable like 10 minutes before carrying on.
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a normal save or save as does not write to the autosave vault which is the whole point of an autosave. You want to have a version that you can ‘roll-back’ to in the event of a disaster.
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no its exactly the same size as the composition, that’s why I can’t understand the timing error.
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The easiest way is to select all the keyframes in the timeline view then select Functions>Move/Scale and enter a value of -1.
This reverses the frames but you will have to move them further up the timeline as this reverses about the start of the sequence. -
the best way to create pages turning, is to use separate planes for the pages, each of which is made editable. Then use the bend tool on each page to effect the pageturn.
note the pages must be spaced out in the y-axis so that the materials don’t ‘mix’.
if you need separate images on either side of each page, the page must be made up of twp separate planes, separated in the y-axis by say .1 of a unit. then make both editable and then connect them. this gives the page two distinct sides. -
The background object is really useful because it allows the video applied to it to run in real time as you run your animation. It also frames the material orthogonally, ie square to the camera which helps greatly when you are trying to place 3D objects in the scene. No matter how you orbit within your scene, the video material stays square to camera. The material also fits exactly the output dimensions that you set up in your Render Settings.