[Mark Fogarty]

You might want to check out what Revostock has for cloud footage. They’ve got quite a bit of variety and their prices are excellent.

Mark Fogarty

[Mark Fogarty]

Sweet! Thanks!

Works perfectly.

You don’t know how long I’ve meant to ask that question. Every time I worked with text I said, “when you get done, get on the Cow and ask somebody”, but I would always forget to.

Thanks so very much.

[Mark Fogarty]

Matt

You can add the JPG texture above the text layer. Then change the text layers track matte to either Luma Matte or Luma Inverted Matte. This will give you a grunge look, depending on your JPG layer.

You can tweak the grunge look by adding and messing around with the levels effect on your JPG layer. You can also move the JPG layer around in the comp thereby giving you different looks on the text layer.

This can also be done if you pre-comp your text layer and add the JPG above the text layer in the text pre-comp.

Either method works well, and sometimes, depending on the type of animation you are doing, one works better then the other to give you your desired effect.

Hope this helps.

Mark

[Mark Fogarty]

To make your keyed footage all one colour, just add the “fill” effect and choose whatever colour you want using that.

You can even do some funkier things by adding the “ramp” and “colorama” effects to your keyed footage. This will allow you to create unique gradients, both subtle and bold, to your keyed footage.

Hope this helps

Mark

[Mark Fogarty]

You can always hold the SHIFT key down while moving layers and they will snap to other layers.

[Mark Fogarty]

A thought for your predicament popped into my mind this afternoon so I thought I’d share it. When I logged on I noticed that somebody must have peed in skubeedoo’s corn flakes this morning.

Sorry if I offended you by my “humorous” poke at WOWfactorX. I worked to many years on a farm to pass on the comment.

Here’s a thought for your cow crisis. You say you can’t film in front of a green screen, is it possible to use a green field/hilly background as a green screen. You could slap up a junk matte, pull a key and then remove quite a bit. You could even put a rope on a cow and walk it back and forth in front of a green hill background. You’d have to rotoscope out the rope but it’s way better then the whole cow.

I think you’d be surprised how quickly you could get a walking cow shape with not a bunch of junk. I would try auto-tracing the keyed out cow shape, expand it a bit and clean up any real rough spots… then use that as your Matrix shape/matte. Like I say… much better then 100% rotoscoping.

If you aren’t able to use a green field as your GS, a black and white cow in front of a just about anything other than black and white will allow you to get a quick and dirty key that can be auto-traced and cleaned up.

I don’t know your plans but you could film a cow anywhere and slap the image into your field footage. People are most likely gonna know there was some post-production involved because of the Matrix rain effect.

Once again, sorry if I offended with a bit of “humour”. Skubeedoo is correct in one regard… the Cow is a GREAT site.

[Mark Fogarty]

Huh??!!?

Then where do calves come from? Spontaneous Generation?

Around here cows come in two gender flavors… female AND male. Perhaps you mean that milking cows are all female.

[Mark Fogarty]

Thanks guys for such a quick response. I’m pretty green when it comes to this stuff.

I think I’ve got a handle on how to do this without too much hassle.

Once again, thanks

Mark

[Mark Fogarty]

I recently did a project that had a clock in it. I purchased the following file from iStock

https://www.istockphoto.com/file_closeup.php?id=2351140

I liked it because it was clean, clear, and it clearly stated that it was in layers so I could animate the hands. You could also change the colour or put a graphic on the clock face if you chose to (which is what I did for my project.

I moved the anchor points for the hour and minute hand to the center of the clock and keyframed their rotation. (I removed the second hand because for the effect I was going for, it was too distracting)

Perhaps for your needs you could put the clock in a comp and keyframe it to the movement of time you wanted, say… 48 hours.

Then move that comp into your final comp and time stretch that layer to meet your needs. This will allow you to adjust the length of the time lapse without having to mess around with the original clock comp and keyframing.

Also make sure you do activate motion blur for the moving hands and their comp.

Hope this helps

Mark

[Mark Fogarty]

I’m assuming that Santana was filmed in front of a green screen and the background and glow streaks added afterwards. Check out two of Andrew Kramers latest tutorials, “Light Strokes Again?! and “3D Stroke Effect with no Plug-in. You can find them here:

https://videocopilot.net/tutorials.html

Hope that helps.

Mark