[Mike Sevigny]

We’ve successfully shot some stuff in a very dark space with a handheld camera using ‘throwies’. They’re cheap and can be painted out relatively easily (over black). Might be useful for some of your setups.
https://www.instructables.com/id/LED-Throwies/
Keep in mind that the light can bleed (slightly) into the edge of your subject if they cross in front of them. This can usually be handled in post but if it happens dozens of times throughout the video you might be kicking yourself.

Good luck,
Mike Sevigny

[Mike Sevigny]

Hey Marcus, sweet spot.

The above suggestions are great but I’ll throw in a few more links for you to explore. It looks as though most of the projections are flat (2D) and that can be achieved relatively easily. 3D Projection mapping in AE is much trickier but can render better results. Have a look at these links..

2D Projection Mapping in AE:
https://www.videocopilot.net/tutorials/3d_camera_projection/

3D Projection Mapping in AE:
https://vimeo.com/87376234

Here is an example of 3D Projection Mapping in AE:
Video: https://vimeo.com/152736382
Breakdown: https://vimeo.com/152088856
Password: tms2016

Hope this helps,
Mike Sevigny

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[Mike Sevigny]

Hey Yosha,
Your videos are down so it’s hard to see the seams you’re referring to but there are some known issues with 360 video in AE.

A) One of which is that glows and blurs will cause problems with the seams in your equirectangular (LongLat) output. I’m assuming that you’re using those for galaxy effects. This is the reason Mettle has released their Post Effects package that addresses this issue by allowing you to add seamless glows, sharpen, blurs, etc. directly to the equirectangular output.
B) There’s also issues with particular and other 3D plugins when the effects come too close to the camera. Those issues are with the plugins and not with Skybox.

I’m not sure if this will solve your problem but it’s important to know when working in 360 inside of AE. These glitches in the workflow will be addressed in the future but for now 360 artists still have the above limitations.

Mike Sevigny

[Mike Sevigny]

[mick dijk] “the ”fx”’ checkbox is gone”

I’m assuming you mean the ‘fx’ checkbox on the layer in the timeline. You should be able to ‘toggle switches/modes’ to reveal that checkbox again (keyboard shortcut F4 on PC). You can also click on the ‘Switches / Modes’ button at the bottom of the timeline window.

[mick dijk] “if i insert a effect in wont do anything with the text”

Some effects don’t have any result when the settings are default. Try to add a ‘blur’ to the text and crank up the settings. You should see the results. It’s hard to say what the problem is here without additional info about the comp and specific effects.

Hope that helps,
Mike Sevigny

[Mike Sevigny]

Walter’s got some great solutions there.

Here’s another: to encode Prores4444 on Windows.
https://www.cinemartin.com/cinec/
It’s pricey but your clients on OSX will never know the difference.
It also encodes to other rare formats.

Mike

[Mike Sevigny]

If you have the layers placed in the timeline on top of each other, you can add this expression to the Opacity of the top layer:
currTime = Math.round(time/thisComp.frameDuration);
if (currTime%2 != 0) {value=0}else{value=100}
Mike Sevigny

[Mike Sevigny]

Hey Justin. The situation you find yourself in is not uncommon. Ideally the screens would have been turned off and you could blend the original reflections back on top of your comps. However, if you’re creating them yourself it can get very tricky very quickly.

Your case is particularly tricky because the viewer can compare the true reflections to your fake ones as the device/camera moves. The plus side is that you have a great reference as to how they should look. Depending on how sharp and close up those true reflections are will make all the difference.

What I do to recreate botched reflections is to simply use feathered white solids.
1) Duplicate your preComp (the screen) in your project panel and in your composition, then drag/replace the duplicate layer with the duplicate in the project panel. Now you have two unique copies of your screen in the composition on top of each other.
2) Inside the duplicated preComp (topmost), delete all the layers and create a white solid (as reflections are typically white/lights). Now add a very feathered mask to it (you will customize this later).
3) Back in your main comp, lock the viewer by clicking ‘toggle viewer lock’ at the top left of your composition viewer window.
4) Here’s where things can get tricky.. You’ll have to animate & tweak your white solid to move and look as close as possible like your true reflections. Of course you can use any type of layer you want for this but in the end it’ll likely only look better, not perfect.

I’d love to hear other user’s tricks on this one.

Mike

[Mike Sevigny]

You need to identify where the timeline indicator is currently positioned in time
activeComp = app.project.activeItem; // Collect the active composition
keyTime = activeComp.time; // Identify the current position of the timeline indicator

opaCity = shapeLayer.property("Transform").property("Opacity"); // Identify your opacity parameter
opaCity.addKey(keyTime); // Add keyframe
opaCity.setValueAtTime(keyTime, 50); // Set the keyframe's value to 50

Mike Sevigny

[Mike Sevigny]

This is one of the first things to come up for removing keyframes so I thought I would share a few methods

First identify the parameter with the keyframes:
targetComp = app.project.activeItem; // Collect the active composition
selectedLayer = targetComp.selectedLayers; // Collect the selected layers
targetParam = selectedLayer[0].transform.position; // Target the Position parameter of the first selected layer
Then you can cycle forward through the keyframes and delete them:
while (targetParam.numKeys != 0) { // While there are still Keyframes, cycle through them
targetParam.removeKey(1); // Delete the first Keyframe
}
or cycle backward and delete them:
for (i = targetParam.numKeys; i != 0; i--) { // Cycle through the Keyframes
targetParam.removeKey(i); // Remove the current Keyframe
}

Mike Sevigny
https://www.torusfx.com

[Mike Sevigny]

That works beautifully..
Thank you as usual Walter, you’re a machine.

Mike Sevigny