Kalleheikki Kannisto
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COW Coin
Forum Replies Created
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In the first example you are in a sub-composition called “Grunge11”, in the second one in a sub-composition called “mouth,” not in your main composition. Are you sure you have something visible in those comps at this point in time?
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A relatively good alternative is to use Optics compensation with reverse compensation.
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Probably simply a Quick map, Color map with two or three colors.
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It will be easier to key if you (roughly) color correct the footage first.
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Alternate approach:
Find the part in the footage where the umbrella is moving the least in the wind and make a seamless loop out of it, long enough to not be noticeable. Overlay on fluttering umbrella, perhaps slightly enlarging the looped copy if the umbrella moves around.
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You’ll need several layers of shadow and light effects, using blend modes Overlay, Soft Light and Hard light, to make it realistic.
What I would do, which is probably different from how most would do it, is that I would cut out the original carpet, fix the perspective so that it was flat (as if you were looking at the carpet stragith from above, aligned to the edges of the layer), and look at it that way, adding the same effects on your new carpet before doing any perspective distortions.
There are at least the following effects I would do on the sunlight on the carpet:
1) The main sunlight in the shape of the window
2) A small glow around the same
3) A large glow around the same
4) A large spotlight-type shape that spreads toward the center of the room
5) A gradient shadow near the walls
6) A motion blur for the extra streaks coming out at the far end of the window light, probably a reflaction from the window sills
7) A small displacement using the carpet texture -
(2) If you can combine the two text layers into one (with an expression that adds the second one to the first), that would take care of it. Depends on whether the texts look the same or not.
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Without knowing how you are doing it currently, I’d say it is a matter of text range selector settings.
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Guardian of the galaxy titles: It happens so fast it is hard to tell how it is done. A fractal noise mask would pretty much give the same impressions although it is unlikely it was done that way.
The trick with tiles is using an animated threshold value and using the layer as a track matter to let the other layer through. Unless you are talking about some other kind of animation.
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How is the 3D object created — is it ready-made footage? Is there a background and if so, does it rotate with the object?
The basic approach for adding 3D text to existing footage is using the 3D camera tracker. If the entire shot is revolving, you would 3D camera track the shot and then add a 3D text layer in the desired position. There are plenty of tutorials on the 3D camera tracker and almost all of them deal with adding text to the scene.
If only the object is turning, it gets more complicated, as you have to mask out the object and precompose the result before using the camera tracker to fool the 3D tracking to follow the object, not the background.
There are commercial programs for object tracking that are more specifically for this purpose, but with built-in tools that’s the approach.