Peter Van der zee
Forum Replies Created
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Try the CC’s (radial and radial fast) they do a lot better.
the other thing “banding” is caused by colordepth.
in some ranges of color, one step out of 255 is huge
to prevent it, work in bigger colordepth (16 bit) -
or a soft mask reveiling the swirls, the mask shape you could animate to not have just a circle revealing the swirls.
a in-between method would be draw a line-mask following the swirls (more or less) and apply a stroke-reveal image-effect with the stroke at the thickness of the swirls and a bit soft. Now you have control over what gets revealed first, if you do it in many masks you can have it to reveal one by one, or all at the time. -
The lower right corner of the billboard is always visible,
you could try to track it with the motion tracker (with subpixel interpretation on)
pin your footage down there (anchorpoint in lower right corner too)
and manualy find the perspective with 3d turned on or simple 3d.if that doesn’t work, you’ll need a good tracker plugin.
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Hi, just a wild shot;
did you try to collapse transformations?
(asuming the psd is a comp) -
Hi, I’ll try to anwer all 4 of them
1. the length is always infinite, there’s no drop-off, you direct it with the point of interest.
(if you want the light to lighten a specific object, you could link it’s point of interest to the position of the object)
2. you cannot look through the light, the easiest way to handle the light is to open two views
and customize the new view to have the light well visible and easy to manipulate.
3. in this new view you can zoom in until you have the size of the handles you need.
4. like 1. there’s no drop off; not with the standard lights, maybe there’s a plug-in I’m not aware of?
CC has some lighting plugins that are worth investigating… -
The camera that is on top in the hierarchy is the active camera
so just put it above the other one or delete the one you’re not using.
but the wiggle you describe has 3 numbers? or is it (2,10.2)?
a normal wiggle only discribes (freq,amount in every direction) -
I’m glad you solved the problem
but if it happens again, open keyframe interpolation
and just put the spatial interpolation to linear
that will conserve your easy ease out on the temporal interpolation.
another more precise way is to get a second view (2 views), look for the
keyframe that does strange things, zoom in a lot and work the spline-handle
of the keyframe (put it in the same direction of where the camera came from.) -
Another way would be to make the precomp bigger setting the comp settings
or switch on collapse within the precomp also…
And another thing: when you import a photoshop it let’s you choose if you want
layersized layers or compsize layers, what did you choose? -
I don’t understand where your problems come from,
a vectorlayer with collapsed transformation or continous rasterize
(it’s the same thing) should just interpret the edges well at any size
ore however close it is to the camera.
Maybe you are precomping with a camera in each comp?
Do a test, make a simple vector in AI and import it into AE,
you can do anything with it and see the difference between collapsed
and no-collapsed, it affects just the quality, nothing else -
I’m not an expert, but I don’t see what difference it will make QT or TIFF
Personaly always work local until render is done (had some bad experiences
with servers going down overnight) also AE slows down if footage or render
is not local, so the time it takes copying materials to local disc normally is worth it.