Mark Whitney
Forum Replies Created
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Actually, I’ve a foley editor a friend proficient with ProTools who goes back to work Monday at Fox. Was looking for an alternate method just in case.
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No, just looking for a gradually accelerating ticking w/o the pitch changing that a speed ramp itself would do.
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The good news is that you have most of the basic tools you need already in After Effects (assuming you’ve CS6 or later) such as Mocha AE and AE’s 3D Track Camera. You have to track the footage in order to create the data needed to tie other elements to it. There are tons of tutorials and such out there and you’ll just have to weed through it to find what’s pertinent to you. There’s youtube of course but Boris FX (https://borisfx.com) bought Imagineer Systems (creators of Mocha) last year so check out the tutorials there as well as searching https://vimeo.com for older but still useful ones. Check the MochaAE forum as well: https://forum.borisfx.com/c/mochaae
The down side is you’ll still need some additional tools in order to create 3D geometry for your overlays. Those could range from a myriad of scripts or plug-ins for After Effects itself, to full blown 3D animation programs. In any case, there needs to be some means of exchanging data (null positions & 3D camera data mostly) between the two and not every package has that.
In short, there’s no simple & quick answer so just keep persistant.
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[Bob Cole] “But I don’t know how relevant the Hollywood approach would be to me. I had an accidental meeting with an eminent Hollywood DP (I was shooting an interview with his daughter), and asked him what lighting instruments he used. He looked puzzled at the very question, before answering, “Everything.” With a tone of voice that implied, “of course!!!””
Ya, we call that “Available Lighting”. i.e. every light available!
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As an aside, DAZ recently released its Hexagon software as a free item now. Primatives such as a dodecahedron are menu items. So if you need to make things occasionally to use in Element3D, this might be something to consider.
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Might your Illustrator work have been CMYK instead of RGB?
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Mmm, well, I’m sure there’s any number of things to find on YouTube I suppose that cover the technical basics. But to be honest rent, or better yet actually buy some of the classics in Blu-ray so you can go back and r-e-a-l-l-y study them on a decent sized monitor. Don’t cheat yourself by trying to watch on your laptop or your phone. Find a scene that really strikes you & freeze frame it & examine what makes it tick. Pick it apart; diagram it & think what it really took to create that look. It might have actually taken a number of 10K’s or Brute arcs to light a large set. Pay attention to what changed when the scene has a new angle that you most likely you never noticed when played in real time. Cinema is the art of illusion after all.
As a side note, I’m about to retire from over 20 years working in Hollywood in the set lighting union, many years of commercial photography before that, and I STILL do this. Waiting for my copy of the classic Fritz Lang’s “M” to arrive this weekend in fact.
Beyond that, go back & study the real masters such as Rembrandt, DaVinci, Vermeer, etc. as those are the folk that everyone studies who are actually serious about lighting. Remember, there’s quite a difference between lighting & illumination.
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Please do. I always like to see how a problem gets solved.
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Is this the top floor? If so, do you have access to the roof to where you could drop a 12X12 double net over the edge? Weight the bottom edge with pipe & drop ropes tied to the ends to the ground for tying off.
If not, going with the set dressing route of curtains might be the quickest solution.
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Don’t know if it would meet all of your requirements & you’d have to have each person on a seperate layer, but you might want to look at Pastiche.
https://aescripts.com/pastiche/
