Steve Roberts
Forum Replies Created
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Yeah — good ideas.
It does look good, but I think the frames around the large screens are too bright. I might separate the top and side frames, and apply Bevel Alpha with a different light orientation to each, as if the light is coming from the screen. If there’s some clever way you can blur the movie (a lot, but mostly vertical) , lay it over the frame, and use add or screen mode … all this to make it look as if the movie is lighting the frame … so the frame is brighter near the brigher areas of the movie. And I’d make the frames a darker gray.
Loking good, though.
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Yep, that would be better.
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Apparently this was rotoscoped on the Inferno. ($$$$$) But in AE, you could do the same thing, but taking longer to do it. You study the motion carefully, draw a mask on a black solid, and animate the mask shape by setting keyframes where the shape-changing motion changes direction. This way, you use AE’s shape interpolation to animate between the keys. Then you do the same for a white solid. You might need more than one black solid. It’s slow, but that’s roto.
You could also shoot the players on greenscreen, but the white shirt wouldn’t glow quite the same way. The main light would have to be very close to camera axis, I’d think.
Anybody else?
Some web bits on the titles:
https://www.mi6.co.uk/news/index.php?itemid=4422&catid=2
https://www.mi6.co.uk/news/index.php?itemid=4511
Same words, bigger pictures:
https://www.vfxtalk.com/forum/decks-and-violence-t7495.html?s=76e87b662a3431bcb405acdc88b71058& -
Do you want the video in the Polaroid to play full frame, filling the screen? If so, you’ll need to show the still flying toward camera, where it settles and starts playing, no? If that’s the plan, I’d show the full height of the video in the Polaroid, but mask off the sides. When it flies toward camera, I’d fade up the sides that were cut off.
Or you could squeeze the video into the Polaroid and see if anybody notices. Then you’d stretch it out to normal dimensions as you fly it toward camera…?
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Indeed.
I chose 300, since my clients often want posters to be printed at 300 dpi, but other DPI numbers are possible, depending on what the client wants. Lower DPI numbers will give you a smaller comp size, which is desirable.
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Sometimes 3D scenes look unrealistic because the objects seem to be self-lit. Try to make the objects look as if they were lit by lights (or the movie screen) in the scene. Otherwise, they should be dark … if they’re not lit by a visible light source.
If you can’t actually light them that way, consider using a ramp overlaid over each object, and/or using the Bevel Alpha effect with a deliberate light direction.
Just a thought. 🙂
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Make a comp that is twice as wide as it is high, drag it into the Main comp, then apply CC Sphere. It is one of the Cycore Effects found on the AE install disk.
For print, take the final size of the poster in inches, then multiply those dimensions by 300 to get the Main composition size.
AE has a maximum comp size of 30,000 by 30,000 pixels. You may not have enough RAM to render that. Try it…
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AE has no bars. Yes, you have to import them as a still or digital video file from somewhere else: rendered from another app or downloaded from the web.
https://www.adobe.com/cfusion/mmform/index.cfm?name=wishform
🙂
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Consider applying time remapping (or Timewarp) to the video so it speeds up from 0 to normal. Details are in the Help.
There will be some jerkiness at the beginning, probably. To avoid that, consider buying the Twixtor plugin.
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I’d trust Aharon’s recommendation, and the tight integration can really speed things up.
If there’s any way you can get a demo copy of C4D, I’d check it out.