Skacey
Forum Replies Created
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I needed to do this same thing and ended up writing a fairly complicated solution.
Some items to remember –
1. You don’t need to offset the landing location by 1 – you can do it with 0.2 or so making the final stack much shorter. (I used one but you only need a slight offset to make it render above the last card)
2. Using the 3D drop shadow and linking the Distance, Opacity, and Feathering to the Z position will make it much more believable with a shadow that starts farther away, highly feathered and with blurred edges and moves to just under the card at about 60% opacity and a slight blur on the edges. This will REALLY slow the render down but the effect is fantastic.
3. Using the seed random feature tied to the starting time parameter is a great way to vary the start and end positions and rotations. Then by offsetting each layer in time you will get cards that start to fall one second apart and land neatly scattered on the table.
4. once you have what you want make sure to save it as a preset so you can quickly apply it later if needed.-Scott Kacey
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I needed to do this same thing and ended up writing a fairly complicated solution.
Some items to remember –
1. You don’t need to offset the landing location by 1 – you can do it with 0.2 or so making the final stack much shorter. (I used one but you only need a slight offset to make it render above the last card)
2. Using the 3D drop shadow and linking the Distance, Opacity, and Feathering to the Z position will make it much more believable with a shadow that starts farther away, highly feathered and with blurred edges and moves to just under the card at about 60% opacity and a slight blur on the edges. This will REALLY slow the render down but the effect is fantastic.
3. Using the seed random feature tied to the starting time parameter is a great way to vary the start and end positions and rotations. Then by offsetting each layer in time you will get cards that start to fall one second apart and land neatly scattered on the table.
4. once you have what you want make sure to save it as a preset so you can quickly apply it later if needed.-Scott Kacey
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You can also try this in a strangly unique way here:
https://www.visualthesaurus.com
But be careful, this site can suck you in and eat up your time like crazy if your not careful.
-Scott Kacey
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Most of my experience is in printing but the principals are the same.
My first step is setting my highlight and shadow. This is where you are picking the lightest and darkest areas of your image and setting them to target values. Generally I’m targeting for a highlight near 90-95% brightness and a shadow near 5-10% brightness. Don’t use a specular highlight for your measurement (like the shine on a chrome bumper) but instead look for the lightest area that still has decernable details.
Next I’m looking for a neutral grey. If I’ve got an area in my image that should not have much or any color cast (like a cement sidewalk, dull grey metal, or a grey shirt for example) I use this as a reference to adjust my midtone values to make this area close to neutral.
Finally I am looking for “Memory” colors like green grass, blue sky, and flesh tones. If you sample a couple of points and look at your readings you can get a general approximation of what moves to make. A general rule of thumb is blue sky should have a hue reading in the low 200’s (210 or so) Green grass has a hue near 90 degrees. and Flesh tones are in the high 300’s or just over zero.
A couple more points to consider:
If you are filming with a camera that auto adjusts the white point and/or auto adjusts the exposure you will end up chasing these moves in post trying to balance an ever shifting color. I usually turn these options off.
If you can get a reference monitor to view your footage on it will make corrections much easier – you can do it “by the numbers” but most people are more comfortable adjusting somewhat by eye.
If you cannot get a reference monitor make yourself a short sample and view it on your final output. Once you have some reference footage you are happy with you can keep these as reference items that you can measure values from and match new footage to.
Color correction is about half art and half science – the more you correct the better you will be able to “see” what has to be done.
-Scott Kacey
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Another option would be to scale them up in Photoshop setting the interpolation to nearest neighbor. If you scale to the largest size you will need then only scale Down in AE you will get better results – nice crisp blocky pixels but antialiased in AE.
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Photoshop is Raster based – the image size is constant weather it has anything on it or not.
In doing the math it seems that you are using 300 pixels per cm not dpi (which is per inch).
You have created a grid of pixels that is 300 pixels per cm times the size of your document.
Each pixel is either three bytes (RGB) or four bytes (CMYK)
Each square cm is 300 pixels x 300 pixels or 90,000 pixels
90,000 pixels times three bytes is 270,000 bytes or a bit more than a quarter of a Megabyte per cm.
A0 is 118.9 cm x 84.1 cm or 10070.83 square cm.
10,000 sqcm times 263k per sqcm is 2.6 gig.
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Do a google search for free fonts – there are several web sites that have symbol fonts that you can convert to outlines in illustrator.
Try this for example: https://www.abstractfonts.com/fonts/
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Second option is to make a comp large enough so that when you zoom in the pixels are one-to-one (full resolution) then start with that comp reduced in size – when you zoom in you will be approaching 100% size and not have the pixelization.
One limit I had to get past was always thinking that my comp should be the size of the screen – you can get some fantastic results by starting with a larger comp and scaling down (render times will be increased though)
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Yes, roughen will only affect the edges of the layer – You will need the logo knocked out of the background before it will work.
Try placing the logo into a comp – using the Luma Key to knock out the white background. Then use this comp as the source for the other three layers. Roughen will work on the edges of the keyed logo.