Keith Mcgregor
Forum Replies Created
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Well, traditionally that’s how it’s done. With 3d you need to have a comping program for total control, but you would render out image sequences (never JPG) to import into ae. What is this Duik you speak of? In AE the characters are limited to 2d space, no depth, in 3d it’s a whole new world out there and you’ll spend a lot of time just modeling your characters before you get into rigging and animation. If you are new to the world of 3d I suppose Daz could be enough for you but I have no Idea what the animating process is, and I just though it worked with poser creating poses but I haven’t seen it in a long time. I use Maya but I don’t model characters nor do I make rigs, I model/animate objects badly as I focus on lighting, textures, rendering and comping.
With Blender there are a ton of tutorials and it would also provide you with more advanced features like fog or fire.
Hope this shines a light!
-KeithReality? What did you make it?
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I tried it twice, once with rasterize unsupported features which worked, once with ignore which didn’t work. Hope this helps.
-KeithReality? What did you make it?
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Oh, well just pre-render that layer with the sphere movement and use the qt movie to track. Solved!
Hope this helps.
-KeithReality? What did you make it?
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Well, I’ve got to a radius of 1500 and then I started to see your problem. (using a 5400 X 2700 pic here) If you can, use a cloud layer to hide a transition to a pre-comped flat version that you can then zoom further into when the sphere gets fuzzy. As long as you don’t go too far beyond what the resolution will allow it should be just fine, and not fuzzy. But just as a test, try scaling it up in a normal comp to about the area you will move in to, or make it a 3d layer and use a camera, and see if it’s as fuzzy or not. If it still is, then you need to get a more detailed photo or google map just for that area and find a place to hide your transitions. That’s how it’s usually done as far as I have found.
Hope this helps!
-KeithReality? What did you make it?
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“but the layer isn’t in the list of available layers to track,” I don’t know if that’s something new to cs6 or not but I don’t know what you are referring to here.
Just duplicate it so you keep the parenting and use the tracker, not the 3d camera tracker. Double click the layer to load it into the footage layer window and choose window/tracker and track that baby, away you go!
-KeithReality? What did you make it?
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Hmmm, sounds like a tough one. If you could post a screen pic of the shot with maybe a diagram of the cam movement it might help. But basically (and I’m sure you already thought of it) but replacing the floor with a still frame sounds like an option. Of course you’ll have to roto a lot (as if you aren’t already) and you’ll be replacing it throughout the shot and then you’ll need mattes for the trees and either key the shadows for a matte or create new ones and grain overall to blend it together.
As for the tracking a clone try it this way, (or tell me if it’s just stupid): If you dupe the layer and create your clone source then bring that comp into the tracking data comp which then goes into another comp under and with the rest of the rig removal. Or, clone stamp in a new comp and place your source in another comp window so you can see both at a time and do a temporal clone stamp so the footage looks like the rest of it, but then you might as well re-create the shadows just to get a consistent look to the ground.
Please post a shot so I can take a look and see what you’re dealing with, my ideas might be way off here.
Sorry to not be of more help.
-KeithReality? What did you make it?
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Yes, media manager will take longer if you are copying but not moving (I think, mebbie depending on connection type, drive speed, amount of space left, amount of daisy-chaining) but as for manually moving the files and then reconnecting, you should only have to reconnect the first (make sure reconnect all media in relative path is on) and it should find all the others at the same time. I suppose though, firewire 800 and above would produce the same moving/copying time, which makes neither way faster or superior, just that with you moving the files manually you wouldn’t need to make a new project or anything.
Hope this helps!
-KeithReality? What did you make it?
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Yeah, those look like the ones for Premiere too along with ae, so go for it! I’ve done it with no problems.
-KeithReality? What did you make it?
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I suppose you could try deleting the FCP user prefs and rebuild them (just by opening fcp again), otherwise you should really be using your insert and overwrite hot keys instead of copy and paste. Never heard of doing it your way anyway, and one key is faster than using 2, twice.
-KeithReality? What did you make it?
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Sure. Import it into AE and when you select it in your project tab is it reading it at 120fps? If not, right click on it and choose “interpret footage/main” from the popup and set the “conform to frame rate” to 120.
If it did interpret it correctly, just drag and drop it on the “make new composition” button at the bottom of the project tab (the third from the left) and it will make a composition at the correct frame rate and length. Then, for time-remapping, right click on the layer name in the comp and choose “time/enable time remapping” or cmd-opt-T, and it will place a keyframe at the beginning and the end of the layer. Then from there if you want to slow it down you need to make your comp longer, to do so just make sure your comp is selected and use cmd-K to open composition settings and in the duration field increase it by a few or more minutes than is already there and click OK. now to make it slower, pull the end keyframe to the right and it will slow your footage down. The duration should be set to twice the normal duration and that would give you half speed. If you want it slower then figure out the timebase it will be at for final playback (say it’s 24) and adjust the duration accordingly for each shot to be about 3x as long.Hope this helps!
-KeithReality? What did you make it?