Kevin Camp
Forum Replies Created
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remove the obscure layer (set to none). duplicate the particular layer and place one on top of the lyaer to wrap around, and the other under the layer to wrap around. hide the particula layer that is under the middle layer.
position the timeline to a point where the particular layer should be hidden by the middle layer. now, with the particular layer on top of the layer you want to wrap around selected, drag the ‘far vanish’ (in the visibility settings) until the middle layer seems to be infront of the above particular layer.
now, make the lower particular layer visible and set the’near vansih’ to the same value as the above particular layer’s ‘far vansish.’
this may require some addtion tweaking, but the emitter should now appear to wrap around the middle layer.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
can you just precomp the the 3d layers that you want effected by the adjustment layer?
then you could include the adjument layer in the precomp or apply the effect to the precomp.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
if you separate your matte, and use it as a track matte. then you may be able to use the paint bucket effect to ‘fill in’ the shirt area with white. you will still need to key frame the fill point to track the shirt… i’d probably try it manually, but you could try to track a point on the shirt and apply the tracker data to the fill point.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
you can just duplicate your footage (unkeyed) and make a mask around the shirt.
the wiggly lines could be due to interlaced footage… in the interpret footage window make sure you are separating fields (select you footage in the project window and choose file>interpret footage>main, then choose the correct dominace, usually lower).
also it sounds like you are not using keylight… it is an effect on the ae install disk, in the third party folder. it would be worth taking a look at. barend did a tutorial on it. andrew kramer has another tutorial here.
aharon robinowitz has a good tutorial on creating supertight junk mattes, which is helpful too.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
barend also has a tutorial (more like a preview) using keylight.
also, once you’ve watched the supertight junk mattes tutoiral, you can modify the process (if auto-trace takes too much time for you) by using a duplicate of your footage with keylight applied in a prelimiary state, set it to ‘combined matte’ (rather than ‘final result’) to show just the matte. if needed tweak the setting to make it a little harsher than normal, so the whites are very white and the blacks are very black. then apply minimax to that layer to blow out the edges of the matte (similar to expand matte in the supertight junk matte tutorial), setting of around 5-10 usually works.
now, use this layer as your track matte for the final keyed layer as you would have in aharon’s tutorial.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
also, if it is 30 interlaced, you can interpret footage as half your target rate (23.976 / 2 = 11.988) and set separate fields (and probably set preserve edges) and drop that into a 23.976 comp… this will slow it down twice as much.
you lose some resolution with this technique, since each frame is primarily made up from data from a single set of fields, but each frame is more accurate than those created buy time remapping or timewarp. and you may use those to slow it down even further.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
yeah you can work in a square px hd comp as you described, then drop that com into a non-square (1.33) px hd comp for final render. a big advantage of working this way (aside from the preview issue) is that not all effects work in non-square pixels (they work, but the see pixels as square, so the effect may be dispropotioned), this workflow would fix those issues.
the only disadvantage i can think of is more pixels = more render time… so your renders will take a little longer.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
yeah, it was interesting… aside from the motion performance difference (due mostly to the gpu) it makes it a little harder to justify the price difference just for the screen size.
there was also the note at the bottom that supports what was discussed here a week or two ago, that the macbook can have 3gb of ram installed and run just fine.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
the expression was designed to move the credit layer completely off the screen at the end. i may try to rewrite it soon to change that so you could hold at the end.
it was also designed to create a move that would that would be flicker free but remain within the duration of the comp, so the duration of the move (on screen) will be shorter than it was originally, due to the fact that the y increment is forced to whole pixels… so that is normal. if you need to lengthen the move, you would need to length the comp duration.
another method to generate whole pixel movement is this little expression:
[Math.round(position[0]),Math.round(position[1])]
just paste it into your postion field, and key frame start and end positions. the expression will limit the movement to whole pixels. it will also work for x movement as well (the other was limited to y). a slight flaw with this rounding method is there is potential for slightly uneven movement, depending on numbers getting rounded up or down.
good luck
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
in addition there is a link to a post made here at the cow by dave laronde, who gave a very thorough explanation of how to create a flicker free credit roll and what i based the expression on.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW