Steve Roberts
Forum Replies Created
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Just to clarify:
always: camera is moving
early: footage matches camera movements so it appears flat to camera as other stuff flies past camera
later: footage freezes in 3D space, so it appears to move away (as a flat plane in 3D space) as camera continues on.Right?
If so, I’d consider moving everything else, via parent nulls, and keeping the camera static. That way each footage layer starts as static, then moves away from camera.
“It never occurred to me to think of space as the thing that was moving.”
Or you could buy Zaxwerks Layer Tools.
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Great minds think alike?
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I thought I said that … 🙂
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It’s all about your playback medium. It doesn’t make any sense to work in a format without a specific delivery or playback medium in mind. For example, if you want your piece to play on DVD in NTSC-land, it has to be delivered at 720×480, at standard non-square or widescreen pixel ratio. You have no choice. So if you want your image to be a different shape, you will see black bars around it. There’s no way around it, since DVD is a standard. The same goes for PAL DVD and Blu-ray.
The same goes for YouTube. Check their site for specs. If, however, you want to post on a website over which you have complete control, you can make the movie any shape you want, using square pixels of course. Just make the file size small enough to be playable.
If you want to deliver to film, talk to the film lab with whom you’ll be working, even before you set up your comp size. Tell them what you want, and they’ll tell you what they can do.
Now, after all that: 1) drop your footage onto the “new comp” button to make a footage-sized comp. 2) in that comp, make a new solid that’s the size of the desired film-like shape. Scale it to fit the width of the comp, assuming it’s not as tall as the comp. 3) set the transfer mode of that solid to “stencil alpha” and make sure it’s above everything in the stack.
Alternately, you could draw a filmic-shaped mask on the uppermost solid, set it to “inverted”, then adjust the opacity of the solid to get a semi-transparent mask.
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P.S. small thing: when you post a link, make sure there is a space before and after the link. 🙂 Then we can click, rather than cut ‘n’ paste.
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If the comp window is set to anything other than 100%, the video won’t look optimal.
Can you show us a screenshot of the entire AE UI, with the ugly clip in the comp window?
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Never mind. Looking for a new answer …
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Re-interpet the footage, Sascha. (file>interpret footage>main)
That image says that you’re separating fields (lower first). Separating fields for progressive footage messes it up.
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In the red-suit shots, to my eye, it looks like the band is just moving that way. I don’t see any effect. As for the other performance shots, it looks as if the editor cut right on a jerky camera movement a lot.
If you’re looking for time effects, consider having the band sing, play and move at half speed, shoot it, then speed it up in post. Also consider applying the Posterize Time effect to a lower frame rate than your normal playback rate. But as I wrote, I don’t think there’s an effect in those shots from the Guano Apes video.
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The simple on-set solution would be to have the talent walk into shot parallel to the picture plane, not toward the camera. That would work, especially given that the framing doesn’t require the showing of the underside of the head (for example) in the reflection.
Next time … 🙂