Sam Moulton
Forum Replies Created
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sounds like a frame rate and fields problem
check your interpretation, double the frame rate of the comp and check fields there
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just a jib move without the zoom would have been possible, maybe even fairly simple, with AE’s tracker. Maybe just a zoom also, but a zoom, pan, jib move combined with a little horizontal wobble introduced by the jib makes this a job for a 3d tracker.
If you’re stuck with AE you can probably still do it by stabilizing position, expanding that comp so all the footage stays in the frame, then nesting the big comp in another and stabilizing position, scale and rotation. You’ll then have simple enough changes in the picture frame that you can just lay your artwork on top and use maybe corner pin to fit it to the frame with only 2 or 3 keyframes. You then back out of the motion stabilizing in a two step process to re-introcude the motion to the shot and finally, drop the oversized comps back in a standard comp for render.
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My first attempt at stabilizing the shot gave me the impression it was hand held. It was the lateral motion of the camera, the changing perspective and the changing vertical line that gave me the impression that it was hand held. With all that movement you really need 3D tracking. Who ever directed the shot needs an education in perspective because the choice of a jib move + a zoom made the shot much more difficult that it needed to be. We’ve been doing a lot of motion tracking lately and i’ve learned that even with a 3d tracker, the simpler you keep the shot, the more success you’ll have. Changing focal length is much more problematic than moving the camera.
I’d suggest synth eyes for 3D tracking.
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I’d stabilize the shot first then add in your graphic, then reintroduce the motion. It will be a lot easier. When planning motion tracking shots you should keep the move as simple as possible. You’ve got a hand held pan and zoom. If you can get the shot stabilized in rotation position and scale you may have a chance.
if not you’ll need a 3rd party tracker. Next time, put the camera on a tripod or keep the cameraman’s fingers off the zoom, or both
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footage layers always scale and rotate around the anchor point. this means you need to put the anchor point where you want the center of your zoom to be. I always animate anchor point instead of position when doing this kind of work.
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that’s 140 MB per frame. Out of curiosity I made a jpg that size with a gradient and noise applied. It was 11.7MB. That means that a medium compressed motion jpeg qt at 30 fps would be between 351MB/sec and 4200 MB/sec. You’re going to need a monster array to play back a file that big even with some major compression and a very powerful processor.
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I take it you’re working in PAL. if so then the square pixel equivalent of a standard widescreen pal comp would be 1024 X 576 pixels. This will drop directly into a PAL Widescreen 720 X 576 pixel comp with no distortion. Since you’re display is going to be set on it’s side, you have to set your comp on it’s side so your comp will be 576 X 1024. Placing this sideways comp in a standard comp won’t distort anything.
You do understand why you can’t render for DVD output at 576 wide and 720 high don’t you?
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i’d work in square pixels then drag the project into a standard pal comp, rotate it 90 and render. You just have to figure whether or not they are going to rotate the set right or left.
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duplicate layer, mask out light, blur, change blend mode to add, then duplicate as many times as necessary and adjust blur
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The mac color picker that comes up when you select system color picker in preferences has 14 or 15 swatches at the bottom that you can use. When I’m working with a special color palette I make a sample in Photoshop and import it into my AE project.