Kevin Camp
Forum Replies Created
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i think you could also do this with particular, using the aux system to emit from the main particles (the main particles being the stars).
if you have particular, i could walk you thru a set up to get started with…
you could also use cc particle world to create a starfield fly thru… not quite the same effect, but might work for you if you don’t have another 3d particle system, or zoom blur doesn’t work.
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no, not the blending mode… there is a and effect in the keying effects called difference matte. what it does is looks at the pixels from one image/footage and removes any similar pixels from the image/footage that it is applied to. so if your shot was locked down well and your lighting stayed consistent, you may be able to use this effect to remove the similar pixels from the footage with the cabinet, by using a still shot that does not have the cabinet.
so bring your stop animation footage in to a comp and bring in a still w/o the cabinet (you can hide the still), then apply difference matte to the stop animation footage. set the still shot as the difference layer, then you can make tolerence, softness and pre-blur adjustments as needed to key out the cabinet.
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if you’re talking about adding a pulldown to bring 24fps film up to broadcast, that’s not a problem for ae. however if you are talking about pal, the difference between 24fps and 25fps is so slight i would just interpret the footage as 25fps in ae and work with it at that rate.
if you wanted to bring it up to 29.97 for ntsc, you would interpret the footage as 23.976, work with it at that rate in ae, but then set the render setting to render at 29.97 with fields and a pulldown.
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if you have one frame of the stop motion scene w/o the cabinet, you could try difference matte on the stop motion scene, setting it to use a separate still of the stop motion scene w/o the cabinet.
if you shot this with a still camera, i think you’ll have a good shot at pulling this off.
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in the color corrections effects, there is an effect called leave color… select the color you want to keep, then set the amount to decolor the rest of the footage. there are adjustments for tolerance and edge softness and you can choose between matching rgb or hue values.
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try setting the physics settings up the same as the previous particular settings… he seems to have left that out of his settings image.
adding spin amplitude and a little air resistance should help to create those curves of the last particle system.
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how much do you want to slow it down, and is it interlaced?
i don’t have twixtor, but if it is anything like timewarp, you should be able to enter the speed you want it to play at (say 50%) and choose the interpolation method to generate the in between frames (like pixel motion, frame mix…).
you can do a pretty good job of slowing interlaced footage down 50%, by choosing separate fields (with correct dominance) from the interpret footage setting and setting the frame rate to half the actual frame rate, then putting that in a comp with a standard frame rate.
if its not interlaced, or you used the deinterlace method described above but want to slow it down further, you can just set the frame rate to a lower rate (using half, or quarter, if it was interlaced, of the actual frame rate can look pretty good in many cases). put that in a standard frame rate comp, set the frame blending to pixel motion and enable frame blending in preview.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
i’m not familiar at all with the handycam, but if you can get control of the iris/apperature and the shutter speed/angle you can make you footage seem more film-like.
a more shallow depth of field is common in film, and can be attained in video if you can open the iris or apperature to give you a shallow depth of field. if you are shooting in brightly lit areas, this becomes more difficult. in film they could just use a slower film speed, but in video you will need to use neutral denisity filters to be able to stop down the apperature. you may be able to find a filter adapter for your camera to utilize standard filters.
a normal film shutter angle would be 180, that would equate to a shutter speed that is double the frame rate. so 24fps would have a shutter speed of about 1/48 of a second. so for a film-like motion blur you would like to set your camera to use a shutter angl of 180 or a shutter speed of double the frame rate (standard video is 30fps, so a shutter speed of 1/60 second would be more filmy).
finaly, in ae you can deinterlace your footage… i wouldn’t try to go from 30fps to 24fps, (unless you handycam can shoot 24p) but even taking your 60i to 30p will seem a little more film-like, and if you were able to shoot with a shutter speed of around 1/60 it should look very film like. there is a preset in later versions of ae called ‘reduce dv blockiness’ that can help lessen dv artifacts, there are also procedures here and on the web. adding a little grain can help hide dv video artifacts too. you can also look for color treatment tutorials, if you want to mimic a certain color processing treatment in used in films.
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one other thing, i wasn’t sure how one might like to handle the start and end of the bouncing animation… i set it to just continue bouncing. if you wanted it to start off static and end static, there are two variables where ‘freq = 1’ just change the 1 to 0 and it will not bounce.
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it sounds like a slightly unusual 16:9 square pixel resolution (960×540 would match a 16:9 ratio).
the ideal sitution would be to conform them to either d1 or dv widescreen and hitting scale to fit, but, if your not broadcasting in 16:9, you’ll probably just want to lose the sides and put it in a standard d1/dv comp (either square or .9 depending on your workflow) and choose fit height.