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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Hi Guys, We still have a copy of AE 5.5 hanging around for specialized things and it uses Mask Avenger just fine.
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I haven’t seen the code but given how we have used Mocha in the past I would imagine this is being employed at some point in the pipeline. To be fair, we have pro, so I’m not sure how robust the one that comes with AE is.
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The guy in front is green screened or roto’d – note the horrible key in the hair when he bends over to get the teabag just before the reveal. You can also see the wipe on the rear character as he changes to the new shirt (look at the hair) – so it’s not just the shirt that changes, the rear man changes completely. With the camera zoom (post, more than likely) it really doens’t matter whether its a quick change artists that has been finessed or a completely different take – that zoom and motion blur hides all sorts of sins.
With these self done videos, they always have the option to shoot it over and over again until they get one that aligns properly with no worry about budget or ticking clock. -
You might have to increase the subdivisions of the sphere to conform to all those little extrusions on the mold element. The higher the subdivisions, the more liquidy the glass sphere will be, the lower, the more like magma-like it will be.
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Adding to both Brian and Jim’s comments, if you bounce around the timeline you will see that the effect becomes a real mess, instead of diminishing as you move the time marker to frames closer to zero, and increasing as you bounce to later frames, it just keeps adding up to a bigger and bigger blob. I think C4D does this (and this is related to your problem) because its a faster way to get a visual result and update the viewer, rather than recalculating from the start frame every time you change the time marker. So you can sometimes be looking at something that won’t actually render that way because it’s not been calculated from the beginning in a linear way. Simulations like this (and the tracer is technically a sim) need to “run in” as each consecutive frame is predicated on what has come before, all the way back to the beginning of time (this is the next Jurassic park sequel’s title by the way).
I know that doesn’t solve the problem but you could bake the effect and that way at least you would see what geometry you will get on every frame correctly and it will speed up the back and forth in the time line as you finesse shaders etc. -
You might also want to connect all your sub objects of your collider object – less to calculate.
But the biggest issue might be the scale. I started from scratch, used a soft body and collider tags on the sphere and mold respectively, backed the sphere away from the collider and before I had even moved it toward the collider the sphere was already splaying out. There’s a reason C4D creates spheres with a default 200 units – its the sweet spot for all these kinds of simulation calculations to work with their default settings.
Can you try this scaled up? Other wise you are going to have to get into changing friction levels and frames and collision noise, which of course you can, but if you are new to C4d then letting the defaults do their thing might be easier.
I’m also not sure what you are after – the description about pouring glass into a mold doesn’t match the C4D set up (at least in my brain). Can you describe the action you are expecting? -
Still playing with it but doesn’t the sphere have to be made editable so the collider as some polys to play with?
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Can Extractor get to those channels in AE (under the 3D effects) if you render to EXR’s?
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Try pulling two mattes – do a rough roto around the offending yellow elements and key that with one set of settings (a little harsher) and key the rest with another (its a good screen color so you won’t have to go too far off the defaults to get a good key). Try also not letting keylight do your screen color suppression for the yellow areas (at least on the matte pass)
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Optically, yellow on green screen is similar to pink on blue screen – they are much harder to separate (yellow light is made of red and GREEN light and pink is made of red and BLUE light, so there is a lot of the screen color hidden in those seemingly harmless colors). Primatte, as Roei pointed out, and Ultimatte do a better job with these problems than Keylight. Determining ideal screen color is based on many factors including foreground colors, but in this case with both pink and yellow characters neither green or blue screens would solve everything.