Stephen Smith
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Forum Replies Created
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Dave LaRonde
“Well, there’s nothing that says you can’t blur an in-focus, keyed image AFTER you pull a nice key….”
If I’m filming 2 people driving a car and I want behind them to be out of focus that would add a lot of work to blur the back ground after the fact. Plus the layers (distance) of depth looks really different when you do it in camera instead of after the fact with a camrea lens blur effect.
Stephen Smith
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Thanks for the compliment on the transitions being seamless. The obvious one is when the camera goes into the train windshield. When we go from 300 miles to the car driving that is another one. I overlapped the pre-comps in the main comp so the bottom pre-comp does a camera move to the right and rotates. It ends up on nothing except the background blue. While the pre-comp on top of that one does a camera move and rotation as well. It starts on nothing and then lands on its final resting place. Once the camera stops moving the blue background appears and the overlap of the pre-comps ends. Typically I can always find breaks like the windshield that are much easier to do. Hope this helps.
Stephen Smith
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Cesar,
Thanks for the kind word about my webpage. As for the 3D track. I thought you wanted to just get the person out of the shot. I was going to suggest doing a 3D track and placing additional branches in the shot to cover the person up. But it sounds like you want them in the shot. Unfortanly you will have to rotoscope which will take a long time. Sorry.
Stephen Smith
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Are you blurring the face because that is what you want or because you can’t show the face? If you don’t want to see the face I would do a 3D track and cover them up.
Stephen Smith
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Have you looked at the cameras keyframes to see if you accidentally have two right next to each other?
Stephen Smith
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I like to do a camera with multiple Null Objects as you mentioned. That being said, for me projects get too big at 2 minutes and I like to break sections into pre-comps. So each pre-comp has its own camera move and then all the pre-comps are lined up in the final comp. The final comp doesn’t have anything in it except all of the pre-comps. I hope that made some senses.
For example, this is about 5 pre-comps glued together. The whole thing could have been 1 comp but it had a LOT of layers and that helped simplify things. Plus, once the camera gets really far away from where it started that confuses things as well: Environment Explainer Video
Hope this helps and best of luck.
Stephen Smith
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Take a look at Camera Projection. Take a look at these tutorials:
https://www.videocopilot.net/tutorials/3d_camera_projection_2/
https://www.videocopilot.net/tutorials/submerged/
Stephen Smith
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Sounds like this is a conversation you should have with your colorist. If they quoted a rate on the expectation of not linking footage then you’ll need to pay them more if you don’t want to do it. Please don’t get upset by this question, but why are you editing in FCP7?
Stephen Smith
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The camera doesn’t continue to pull back very much with the move. They didn’t do anything special. Once the camera stops moving backwards it then moves to the left and if it does pull back it is not very much. Are you asking how to create that parallax look?
Stephen Smith
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If you want dots to move along a path it is easy to create in After Effects. Use the pen tool to create your path line. It will create a shape. In the shape layer, Contents, Shape: disable the Fill checkbox. Make the stroke the color you want and increase the stroke width if needed. Change the Line Cap so it has “Round Cap” in the box. Next to the word Dashes is a + box. Click that twice. In the Dashes section change Dash to 0. Change the Gap to whatever number creates the spacing you like. Then you can keyframe the offset to make the dots move along your path. Hope this helps and best of luck.
Stephen Smith
Check out my Vimeo page