Joseph W. bourke
Forum Replies Created
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Thanks Martin –
Actually this would be a secondary camera for shooting production stills and b-roll, with possible use for short cutaways or reaction shots, if they can be matched to the primary footage (that’s my problem).
I was more worried about color shift over time, or noise for that matter, now that you mention it. If it doesn’t occur until after the heat warning goes off, then I’ll at least have a point at which I know to check my footage when I get it onto the editing box.Joe Bourke
Creative Director / Multimedia Specialist
B&S Exhibits and Multimedia
bs-exhibits.com -
Sorry Keith – you mentioned that in your original post, and I breezed right over it. I think that you’re going to have to bite the bullet and get into Expressions. There are so many sites out there with pre-made elements and motions, that it shouldn’t be too hard to find a nugget from which you can build what you need. Good luck with the search!
Joe Bourke
Creative Director / Multimedia Specialist
B&S Exhibits and Multimedia
bs-exhibits.com -
Keith –
Here’s a link to a set of scripts which will do most of the heavy lifting for you – I’ve found them very useful:
https://aescripts.com/ease-and-wizz/
Joe Bourke
Creative Director / Multimedia Specialist
B&S Exhibits and Multimedia
bs-exhibits.com -
Another workflow I’ve used successfully (with 3DS Max, not C4D) is to output my text as RLA or RPF files, with the render switches turned on for Coverage, Z Depth, and Alpha Channel.
When the files come into AE (as a file sequence), you will have the option to actually import the camera into AE. Here’s what Adobe has to say about it:
https://help.adobe.com/en_US/AfterEffects/9.0/WS3878526689cb91655866c1103906c6dea-7f27a.html
Joe Bourke
Creative Director / Multimedia Specialist
B&S Exhibits and Multimedia
bs-exhibits.com -
I think it’s a painful, but wise choice. Cheap in-house talent has a way of moving on quickly as soon as a higher paying position pops up. By doing the classy thing, you position yourself to get the agency back (if you want them) once the cheap talent goes south.
Joe Bourke
Creative Director / Multimedia Specialist
B&S Exhibits and Multimedia
bs-exhibits.com -
It depends. Were you working at the ad agency when you created the logo? It’s not clear from your wording. If so, the 3d logo was done as “work for hire”, meaning the agency owns anything you created while working for them (as an employee, is what I mean).
If the 3D logo was created as a freelance employer for the ad agency, and you billed them for the initial project (of which the 3d logo was part), and you didn’t stipulate in the contract that usage of the logo was granted only as part of an ongoing campaign, or was licensed to the agency on a per commercial basis, you probably don’t gave a strong case. It would have to be clear that the logo was only licensed for the one commercial (much the way music has a needle drop license).
Either way, you most likely won’t do any more work for the agency if you send them a bill. You’re better off calling the Art Director (or whoever the project manager was), and voicing your dismay, rather than just sending a bill. You’ll come off as more professional, and keep the door open for future work, no matter how the dice roll. Good luck!
Joe Bourke
Creative Director / Multimedia Specialist
B&S Exhibits and Multimedia
bs-exhibits.com -
Something I’ve used with success in the past is to do a highest rez possible screen grab of the page (by making the display size its’ max), then bring the page into Photoshop and cut it into pieces (whatever’s logical as to boxes, bars, headers, etc.). Then I paint in white (or the page color) where the pieces were cut out, so theres’ a “landing zone” so to speak.
I then bring it into AE, make the Photoshop layers into a Comp, make the layers 3D, then fly the layers in Z space onto the page to “create” the page. I put shadows on the flying layers so that they cast shadows on the master page, and rotate the camera animating in Y space a bit so that the layers flying in have a real sense of depth to them.
Joe Bourke
Creative Director / Multimedia Specialist
B&S Exhibits and Multimedia
bs-exhibits.com -
Sorry, Keith, I assumed you knew about Transitions – they’re just a category in the AE plugins. If you just use a “Linear Wipe”, you should be good to go.
Joe Bourke
Creative Director / Multimedia Specialist
B&S Exhibits and Multimedia
bs-exhibits.com -
There are a few ways to go here – doing a search on “old film effects” will help you out. There used to be (there may still be) a plugin called Old Film. There was (and may still be) a higher end plugin called Cinelook which would emulate various film stocks, and had loads of presets which would add stains, scratches, and other noise to your footage. Magic Bullet Suite offers some of these as well. Boris Effects has Film Damage. You can even find old archival leader clips on the web which can be composited onto your clips to do the same thing, if you can find a section with just the noise on it. Happy searching!
Joe Bourke
Creative Director / Multimedia Specialist
B&S Exhibits and Multimedia
bs-exhibits.com -
This is a simple one, although not intuitive – it involves using your shape you want to fill as the matte for the colored layer, then using a wipe transition, going from bottom to top, to “fill” the shape. You’re going to have two layers for this – the shape layer, which will lend its’ alpha channel to the color layer (second layer). The wipe transition will be placed on the color layer, and you can adjust the speed of the “fill”, as well as the color of the layer, without having to go back to square one. If you want a little turbulence in the “liquid”, you could use one of the distort modifiers to achieve that, so that the liquid seems to be moving as it hits the edges of the container shape. Good luck!
Joe Bourke
Creative Director / Multimedia Specialist
B&S Exhibits and Multimedia
bs-exhibits.com