Mstleger
Forum Replies Created
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Try “Liquify.”
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Thanks, i checked it out, but still no luck. I’m attempting to apply two render passes to eachother- one is a cloth pass, the other a character pass. The cloth was rendered as a whole, without the proper alpha to just drop it on the character (you can see inside the collar and sleeves). We’ve got to do this on 100+ shots with multiple characters, or re-render the 3d with a proper alpha. I’m hoping to make it work in AE. I’ve tried converting the shot to an RLA sequence, and all the 3d plug-ins. I know this works in Shake, but no luck here.
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not sure if this is the fix, but try rendering a straight RGB and another sequence with just the alpha. Some edit suites don’t take kindly to a premultiplied alpha.
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a quick combination: end, alt+] will trim the layer end to the end of the comp
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No. Avid and FC are editing software, which is capable of making render files that can be played back in the comp. AE does not do this, AE renders to RAM when playing the video in the comp. Previews in AE are very limited because of this.
Just render from AE, import to the edit suite of your choice, then print to tape there.
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I’ve never gone back and forth between the two, but I would consider starting with a fresh AE comp when you go back to AE. If everything looks good in Maya, the problem is getting back in AE. Just leave some nulls in Maya (properly named) where the objects are to be. Then replace them with your AE layers.
Also, make sure your render globals are set to the size comp you are using in AE. This is very important. There are a lot of steps in this process, so try to make sure you handle it one step at a time. When I do this, I usually refer to the tutorial here on the cow.
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you cannot add information to video, but you may be able to reduce some artifacting. Take a look at the channels, and see which one has the least amount of artifacts. Use a combination of channel blur on the bad channels, and channel mixer to create a successful combination. I assume this video can be black and white, so you may be able to use the channel mixer to convert the image to monotone.
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You should shell out the cash and upgrade to 6.5. Keylight is a better keying tool. If you can swing it, Composite Wizard has a better matte choker than AE’s standard choker. Spill suppress only affects the color that has spilled into your keyed image, it will not really improve your edges.
Consider using garbage masks to seperate your image and use a different key and choke on the hair and other trouble areas. -
Best way is to make multiple, simple- shaped masks that are animated as whole shapes as often as possible (rather than animating individual mask points). Also, try to use as few keyframes as possible- every 10 frames is usually a good place to be, though sometimes you have no choice but to do frame by frame. The more you do this, the faster (and smarter) you get at it.
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best bet is to do a rough “garbage” mask around the subject, and then attempt to push the luminance and contrast (using curves, levels, and channel mixer) until the edges start to look good on the matte. Then, paint in any areas of the matte that the luminance adjustments missed. Slow, but faster than rotomasking. If the shot is too difficult to pull all the edges together, a procedural solution involving multiple garbage masks may solve your problems.