Joseph W. bourke
Forum Replies Created
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Is this what you’re looking for?
https://www.nypg.com/aicpForm.cfm
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
I’m sure there are other sources to scan film, but here’s one which shows the choices and compares the results:
https://www.videoconversionexperts.com/16mm-film-transfer.html
Also bear in mind that the footage you’re referencing was not your standard run and gun stuff. There was a cameraman in the third car back in the motorcade, which says to me that this was a White House photog, and, as such, he was probably using the best portable technology for the time.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
At about :31 in the film, there’s a pretty good shot of the car with the cameraman, and it’s hand-held. Maybe a Bell & Howell Filmo 16mm. I can’t tell whether there’s a single lens or turret on it, but it’s not a 35mm. Here’s some interesting info on making 16mm look great, and it may be the process used by Nat’l Geographic:
https://www.colorlab.com/filmskool/16mmtoHD.html
Apparently the Filmo was offered as a 35mm hand-held model, but the only discussions of it seem to say it was offered in the late 1920s, and maybe didn’t catch on, so my guess is (unless someone wants to blow up a frame of the camera car and prove what the camera is) that it was 16mm:
https://www.intervalometers.com/bh/
I would think that the 16mm film, with the right processing, could have achieved the look of the clip you posted. I worked at an ad agency in the late seventies, and we shot all of our commercials on 16mm, then did a transfer to 1 inch tape. It looked beautiful.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
While my first suggestion would be to do it with lighting, you could also achieve a semblance of the practical effects by either using a green screen technique, where, in the case of the monster, you shoot it and key it, then use either a shadow plugin such as Red Giant Warp (https://www.redgiant.com/products/all/rgwarp/), or take a copy of the footage, reduce the brightness and contrast until it’s black, then soften it with a blur and distort it until it looks the way you want it.
Here’s another method from VideoCopilot:
https://www.youtube.com/watch?v=hlL1Mf2QBLs
You would obviously use this technique with a layer which has an alpha channel.
Joe Bourke
Owner/Creative Director
Bourke Media
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Is it possible that the battery in your Intervalometer is on its’ way out?
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
The only ways I can think of doing it are to use expressions, or to use Red Giant’s Text Anarchy:
https://www.redgiant.com/products/all/text-anarchy/
Text Anarchy will allow you to cycle through fonts, as well as a lot of keyframeable control over text effects. The link will lead you to a manual if you to take a look through the features and capabilities. Click the “Text Anarchy Resources” button to get you to the manual.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Here’s all you need to know:
https://provideocoalition.com/cmg_keyframes/story/pasting_paths_from_illustrator_to_after_effects/Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
You don’t say which OS you’re working on, so this may or may not be helpful:
https://www.redgiant.com/support/faq/product-specific/trapcode-particular/178/
If not, you’ll find all the information you need on the Red Giant site, as Todd suggested. I have had the same problem with RG plugins, and it was a simple matter of moving the files where they needed to be.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Jason –
I thought I explained it above pretty well. There is no such thing as matching RGB to CMYK. While you can make the CMYK to RGB conversion with the numbers, there just isn’t any way to make them “match”. You have to eyeball it. If it looks good to you, it will probably look good to the client.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Jason –
One thing to bear in mind here is that print is CYMK, and After Effects is RGB. One thing I generally do when I need to “match” to print colors (bearing in mind that there’s no such thing – it’s all eyeballing it) is to pull the print piece into Photoshop, or Illustrator, find the color you’re matching – or better yet get the CMYK or Pantone color numbers from corporate – and then look in the color swatch panel, and get the conversion numbers in RGB. Then use that color for however you colorize – I think Erik is on the right track by suggesting the Hue or Color blend mode. Another possibility is to create a color solid in your print color, then apply the various blend modes until it’s close enough. There are several ways you could do it, but bear in mind that you’re also pitting an additive color system (RGB) against a subtractive one(CMYK). It will be a “close as possible” situation.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com