Simon Ubsdell
6
COW Coins
Forum Replies Created
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You should be able to match this using a combination of Text animation behaviors (which are pretty similar to what’s available in AE anyway).
Try using Substitute In/Out which will give you the random letters jumbling before they settle.
Simon Ubsdell
http://www.tokyo-uk.com -
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I should add that you can also try linking the X rotation of the reflection layer/group to the Y rotation of the master layer/group, again with a negative scale – try minus point 5 (.-5) – and a negative Y offset to get the perspective right (about -100 maybe) aussming youv’e already set an X rotation that looks good to you.
A bit of experimentation and you’ll get a pretty good result.
You should also think about masking out the non-reflective parts of the panels for a more realistic look.
Good luck.
Simon Ubsdell
http://www.tokyo-uk.com -
A bit tricky because I’m not sure quite what look you are going for but here are a few tips.
Make a duplicate of your foreground text/image layer or group, set the mode to Overlay (or whatever you think looks good), reduce the opacity, add a bit of blur, put it behind and set it back in Z depth enough to look realistic.
Then to try and get the reflection to move correctly (assuming that you are rotating your foreground on the Y axis) add a Link Behavior to link the Y axis of the duplicate reflection layer/group to the Y axis of the foreground layer – and set the Scale parameter of the Link behavior to minus 1 (-1) in order to get a “reflected” animation.
Simon Ubsdell
http://www.tokyo-uk.com -
[Schlanger Tamás] ” Thanks but unfortunately it does not help because the reflections will appear in based of the perspective of the video and not in based of the window on the video..”
Yes, this would be the case unfortunately.
My suggestion would be that you would probably get a much more controllable result if you did this without using the built-in reflection option. Rotate, scale and mask a clone or duplicate of your text layer until it is in the right position.
Simon Ubsdell
http://www.tokyo-uk.com -
You can’t make the rectangle invisible but keep the reflection but here’s the way to do it.
Duplicate your video layer and on the new layer apply a mask around the window area so that only that is showing.
Now set this new layer to accept reflections and your text should reflect only in that area of your image.
Hope that makes sense.
Simon Ubsdell
http://www.tokyo-uk.com -
You don’t want to keyframe the text size as – even if it were possible – it would result in a steppy animation. The easiest way to achieve a dynamic resize is to keyframe the scale transform parameter.
Simon Ubsdell
http://www.tokyo-uk.com -
[Jeremy Garchow] “Got it. That really says it all.”
Well, great, thanks. Good to know you agree with me.
Simon Ubsdell
http://www.tokyo-uk.com -
[Jeremy Garchow] “I’m curious, how much real time have you put in trying out favorites?”
Well, I’ve just been editing an interview with Mr Complacent Certainty of Inflexible Opinions Inc. and I’ve already keyworded the thing to death, but there’s only so far you can go without keywording every single phoneme, unless you’re Bill Davis.
So I’ve started to use favorites to narrow down my selections and I want to start editing with one particular favorited clip that runs: “When all said and done, favorites are the answer to the problem of persistent ins and out. Period. There’s no argument about it.” And another favorited clip that goes: “OMFs and EDLs are a waste of time. Any idiot can see that.”
I’ve filtered my clips so I’m only seeing favorites. Clearly the point of favorites is to narrow down your selections below the level of keywords so this seems the strategy that Apple have intended for us to use at this point. Let’s try and remember that favorites are by definition sections of clips that I am planning to use within the edit, though the chances are very high that they will need further editing, but Apple know all about that don’t they, so it’s cool.
So, the bit I want from the first clip is that bit that goes: “favorites are”, so in order to get a persistent IO I have to unfavorite the clip because you can’t have a favorite within the range of another favorite and …
Ooops, what’s happened?
I can’t see my clip anymore. It’s disappeared. I’m going to have to hunt it down again to refavorite just the part that I want.
A minute or so later I’m back on track. Great.
Now I need to go through that whole process again because I want just the words: “are a waste of time” from my second clip.
Obviously I’m missing something again. But it does seem to me that given that favoriting is a process for narrowing down selections, not being able conveniently to select within those selections without actually destroying the first selection is, you could almost say, entirely self-defeating.
That’s what I’ve learned about the ineffable magnificence of the FCPX organizational structure.
But other than that, you’re absolutely right – everything is for the best in the best of all possible worlds.
[Jeremy Garchow] ” I am sincerely curious on how much work you’ve put in to X’s organizational structure? I’ve put some work in to it, and I am still learning a lot.”
Life is short and clients will insist on paying me exorbitant amounts of money to work for them so I tend not to have time to waste on exploring stuff I broadly understand already. I genuinely think I learnt as much as I need to learn (for now) within about the first three days – this really isn’t rocket science, much though some folks would try and have us believe that it is. Anyone who was familiar with iMovie before FCPX appeared will have similarly had no difficulty getting their head around the “organizational structure”. The apparent novelty is only in the eyes of those who weren’t already up to speed with iMovie.
Simon Ubsdell
http://www.tokyo-uk.com -
[Walter Soyka] “I guess I don’t see the problem there, at least with respect to FCP7. You could only have one “favorite” per clip in FCP7 anyway, since you could only have one set of markers.”
I guess this is true but implementing favorites as a tool for maintaining persistent I or O means that you effectively throw away the other benefits of having favorites in the first place – because now they can only be used for trying to retain IO rather than for their opresumably original purpose.
[Walter Soyka] “Do you have another use for single, unmatched I/OPs besides three-point editing (which isn’t bothered by the extraneous end point that you didn’t pick)?”
Absolutely. As Oliver has pointed out (and I think I have too) on more than one occasion, there are editors who use I and O as temporary markers all the time in pretty much every edit situation of the day. (The whole three point editing digression was not relevant to this discussion at all.)
Markers could be used instead but I’m not sure they would be as handy. A persistent I or a persistent O is half way to being an edit decision that you can use, whereas a marker isn’t and would involve extra steps.
[Walter Soyka] ”
A big — and seemingly inexplicable — limitation. I’d love to see that addressed.”One of the many things that needs work!
Simon Ubsdell
http://www.tokyo-uk.com