Steve Bentley
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After Effects Coin
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COW Coins
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Maxon C4D Coins
Forum Replies Created
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Not sure what happened there. It doubled up the post – I did an edit to add another line and I got the post uploaded again.
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We do our warp for the projection map in C4D and get that all fitting perfect to the geometry in the world. Then we export a vertex warp pass. This is just a still that will change a flat 2d render to the shapes in the world. (or a movie if you have motion control objects in the real world you can match to)
Then go and get revision effects ReMap plug in for AE (its pretty cheap). This can sit as an effect in an adjustment layer above your 2D or rendered 3D footage in AE, with the vertex warp from C4d plugged in to the effect. This will warp any 2D render to your final shapes in the real world and you can turn it on and off to check stuff. You can use the vertex map as reference in AE for where the “seams” are in the real world (where columns edges are or where the mullions in windows are). Plus you can output the viewport in AE to your projectors live (assuming you have a gfx card that can do this). Any footage renderered in 3D that is already in perspective or warped for the world should sit above this adjustment layer in your comp.A 3D package is great for getting your geometry right to match whatever you are mapping too but in the end what you are projecting is 2D so you have the choice of going C4d or AE or both for the content. The 3D aspect of your content (just content here, I’m not talking about the 3D stuff that matches the architecture) has nothing to do with the real geometry of real world objects. So don’t limit yourself to one or the other just because you are mapping. Think about content as though you are working on a flat surface and then start working on the depth aspect.
In fact you can get into trouble with doing stuff in 3D only and thinking this way because your projectors can’t actually focus on more than one plane at a time. So you can end up designing something really cool that you can’t really pull off (in this physical universe anyway).
The thing that makes projection mapping work is the changes in lighting and shadows that match the geometry of your real world objects – and that can be done in either 2D or 3D.With this approach you don’t have bring in geometry to AE to put your 2d stuff on – the warp render does that for you.
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We do our warp for the projection map in C4D and get that all fitting perfect to the geometry in the world. Then we export a vertex warp pass. This is just a still that will change a flat 2d render to the shapes in the world. (or a movie if you have motion control objects in the real world you can match to)
Then go and get revision effects ReMap plug in for AE (its pretty cheap). This can sit as an effect in an adjustment layer above your 2D or rendered 3D footage in AE, with the vertex warp from C4d plugged in to the effect. This will warp any 2D render to your final shapes in the real world and you can turn it on and off to check stuff. You can use the vertex map as reference in AE for where the “seams” are in the real world (where columns edges are or where the mullions in windows are). Plus you can output the viewport in AE to your projectors live (assuming you have a gfx card that can do this). Any footage renderered in 3D that is already in perspective or warped for the world should sit above this adjustment layer in your comp.A 3D package is great for getting your geometry right to match whatever you are mapping too but in the end what you are projecting is 2D so you have the choice of going C4d or AE or both for the content. The 3D aspect of your content (just content here, I’m not talking about the 3D stuff that matches the architecture) has nothing to do with the real geometry of real world objects. So don’t limit yourself to one or the other just because you are mapping. Think about content as though you are working on a flat surface and then start working on the depth aspect.
In fact you can get into trouble with doing stuff in 3D only and thinking this way because your projectors can’t actually focus on more than one plane at a time. So you can end up designing something really cool that you can’t really pull off (in this physical universe anyway).
The thing that makes projection mapping work is the changes in lighting and shadows that match the geometry of your real world objects – and that can be done in either 2D or 3D. -
600 K is nothing these days for file sizes. That’s less than a mb. Easliy emailable. And downloads quick even on a slow connection.
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And I think it stays the way its set so the next time you import it should be set. You just have to remember to turn it back on when you want a sequence again
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Thats such a nice little piece.
I think you are on the right track but you don’t have to manually break up the words and you could technically do it all on one layer (but a few more might make it easier). There are a ton of tools in the text parameters that you can move letters individually while always having the original sentence intact on one layer to either end up at or in the example to start with.Try the range attribute combined with a wiggle and some z space displacement. If you have trouble with the z space you can always just scale the text a little and the brain assumes its closer. I’m torn about which way they went for that example – I thought it was z space but then the flickering copy effect gave a few things away and I think it was just 2D with scaling.
You might have more control with Particular but it should be doable inside AE without any plug ins.
There are also a ton of presets for this kind of thing built in that you could modify in the z and with a little wiggle. -
Ok I have that frame alphaing now. I simply increase the smoothness of the camera path from 5 down to 2.
Also of note (and where the hiccup was) you have a broken handle on the spline as it turns upward. you can fix that by selecting that point on the spline and choosing mesh/spline/softinterpolation .Then you can adjust it to be the angle to want and you will get a smooth transition from horizontal to your upward curve.
https://i1.creativecow.net/u-upload.php# -
You can add a hint of blur and that will antialias it a little more. Use gaussian so you can do sub 1 pixel values.
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I’m wondering if something is up with the follow spline effector. I’m going to try doing it with xpresso and see if it fixes the one frame camera tilt down i’m seeing here.
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I can’t see the man yet because what I see in the view port is not what is showing up in the render. The camera is tilted down and only rendering water in frame 148 even though in the viewport the horizon in quite low.