Steve Roberts
Forum Replies Created
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Using any audio effects?
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I’d imagine that you could take the almost-real-world nodal-pan approach: using Particular, make some kind of particle extravaganza. Then make a bunch of (try twelve?) wide-angle cameras in AE, each panned slightly, all centered on the same point. This would simulate twelve nodal cameras, or one panned on a nodal head. Then you would render the view from each camera and stitch in whatever app you’d use to stitch a nodal pan from real-world stills.
Now if you just wanted a still instead of a movie for the map (far more likely), rotate the camera over time and render to a TGA sequence. Snap snap snap. If you want twelve images, you only need a twelve-frame comp. Turn off motion blur, so you don’t get blur from the moving camera. Or if you need motion blur, just render one still at a time.
Does that make sense?
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If your video was shot progressive, make sure that AE didn’t separate field on import. Select the footage, then file>interpret footage> main. If the footage is progressive, set “separate fields” to “off”.
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The key to understanding Time Remapping is knowing that it’s like any other keyframeable property: you have a value changing over time, and in this case, the value is the displayed frame of footage.
This means that the value change (playback speed) must be the same as it was (1 frame per frame) when you first chose Time Remapping (TR) if you want to keep audio sync.
If you want to keep sync for the first 10 seconds of footage, make a TR keyframe at the end of the first 10 seconds. You now have three keyframes for TR. Then you should drag out the last keyframe to make the footage slow down at the end. R-click on the last keyframe and select “keyframe assistant>easy ease in”, and do the same for the middle keyframe but select “easy ease out”.
Open the graph editor and make sure the TR graph’s speed is continuous by dragging handles.
That should get you started …
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Next time, try 3M Scotchlite or similar tape.
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If you just want the C4D renders to play on the walls as if projected, AE’s corner pin tracker or Mocha will do the job if the wall has trackable features. I like the Soft Light mode for this sort of thing.
(Corner pin/mocha tracking works with 3D camera moves, but only if you’re replacing a screen, or placing an image on a flat surface like a wall. It’s when you need layers floating in 3D space with a 3D camera that you need a 3D matchmoving solution… or if the wall doesn’t have trackable features.)
If you want the C4D 3D to interact with the talent, you should track the footage with Syntheyes or Boujou to create a 3D camera, then use the footage as a background in C4D and animate to the timing of the footage. You’ll probably have to do some masking when real world objects come in front of CG objects.
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Thanks, Todd.
Apparently, it works now, though I don’t have any information on the solution. I’ll debrief my student on Thursday and get back to you guys. -
Thanks gents, I’ll ask her to try to use QT to convert to something old-school like Photo-JPEG…
… dealing with my shame of her having to convert one of my files because it’s unsuitable.
(Our hockey stars may be great Dave, but one of our Canuck writers opined that nothing is hotter than a female Olympic curler yelling “harder! HARDER!”
Hey, it was in the Globe and Mail …)
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All the codecs mentioned here are good, but intermediate codecs, best used when further processing is required. Sorenson is a delivery codec, used for the final product on the web or test clips to clients.
For what purpose were you compressing this specific video clip to Sorenson? Is this clip destined for further processing, for client tests or for the web?
If destined for further processing, the suggested codecs would be great. However, if I were compressing it for client tests, I’d prefer H.264.
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Searching the COW for “dynamic parenting” led to this thread:
https://forums.creativecow.net/thread/2/921327#921359