Roei Tzoref
Forum Replies Created
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Geez Ted! thanks for that, I was not aware of that. let me return a courtesy – there is an even shorter route. you can reply your own or any other message, and you will enter a slight different “readpost” thread. here you will be able to see the edit button underneath your original message 🙂
now all we need is a way to copy paste images right in the window and we are almost a 20th century message board 🙂
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can’t think of any. and I am experimenting to see if you can do this with one layer but have a few questions and maybe suggestions for you:
1. is this for creating some of Vignette? because you have CC Vignette
2. is the inner shadow effect suppose to animate? and is this a video or still element? if it’s not suppose to animate and it is a still and not video, you could save your trouble and create that inner shadow in Ps or Ai for it to be already embedded in your element.
3.is creating the effect in 2 layers above the original a problem? you can create this effect by duplicating the layer twice set the duplicate to use an inverted alpha matte of itself and add blur to the alpha matte and black fill to the duplicate.
maybe it would help to see a screenshot of what exactly are you dealing with there
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the fact is that Ae shape do not support variable size strokes, and will convert anything but uniform width, basic brush Ai strokes to Fills. you should take those limitation into account when you prepare for revealing your stroke. so what you are left with is, in my opinion, is to use the variable stroke reveal Effect in Ae which is the Write-On Effect and reveal your variable stroke path with it. this makes the converting Ai to shapes not so useful.
to get the path for animating your stroke you can either paint the path on top of your shape yourself, or temporarily change your ai path to uniform stroke, copy the path, and past in Ae.
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I haven’t being able to find the behind the scenes or an article on this commercial but bare in mind that is this probably a combination of practical lighting and compositing. in order for those building to light up in the dark, you have to actually have a light in there. maybe it was done in 2 passes of motion control cameras – on with light and one without so you can have the environment as lighter and darker realistically or maybe not. those practical lights playing with combination of the compositing makes this in my opinion a successful and interesting imagery.
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[Martyn Howett] “My guy here tells me that with Trapcode Particular, he cannot control the effect on the Z-axis of the 3D motion-tracked environment. Does that make sense?”
Well, you should listen to your guy and if he is experienced in what he does, he should know what he is talking about. I am not in front of your current setup and not sure about all the details and I am not sure what he means by “cannot control the Z axis of 3D tracked environment” . particular has a position parameter that also exists in 3d space and that’s being used for many vfx productions including feature films to make anything come out of anything also in 3D environements. if you tracked your scene, you should have a null or a track point that contains the 3d information. you can attach your particular emitter to that information in various ways and this will give you a very prestigious trail effect that’s also in 3D.
you can also wait here for a while for others to contribute to this discussion, maybe we will both learn something new today.
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[Dane Singleton] “Again that is the timestamp for the entire composition, I just want the time in the single clip .”
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[Dane Singleton] “There is no way just to have a timestamp somewhere that can tell me?”
you have the timecode right there in the top left of the timeline panel
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[Dave LaRonde] “Is there a good reason NOT to use the Posterize Time effect instead of an expression?
“effects render before transformations so if I have a movement set by transform keyframe, the PT effect won’t affect it. this expression applies to the value itself.
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when you say clip – you mean precomp, correct? each composition contains a timecode at the left corner of the timeline. if you need the time inside a precomp, click twice on the precomp to open it. if you need to go to a specific type you can click view->go to time (Alt+Shift+J) and type the timecode.
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thank you. I guess I thought this one is only good for TR property and therefor requires pre-comping for keyframe animation
