Steve Roberts
Forum Replies Created
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[Dave LaRonde] “And speaking of “color” and “colors”, Mr. Roberts, you even used the American spelling! I’m stunned.
“Resistance is futile, Dave. 😉
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Yeah, that’s it. I’d try Hue/Sat, messing with Channel Range to select the colors to affect. The little wedgies soften the ends of the range of colors to affect. You’d start with a shot having full range of colors, then leave the oranges alone, knocking down the sat and upping the blue for the rest of the colors outside orange.
A mask may or may not be necessary, depending on the existence of orange colors outside the talent that you want to knock down to blue.
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We might not be able to perceive the eyelids closing, so consider really fast dissolves to black frames, possibly with a blur-to-sharp look when coming out of the blink. (it wouldn’t happen going into the blink, just coming out of it).
Or consider animating the Levels effect quickly so the dark areas go black first when going into the blink, and so they come up last when coming out of the blink.
Hey, try slowly closing your eyes and see what it looks like.
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Just a thought: the frame rate should be 23.976 fps, not 23.98…
… in spite of what Apple says. AE is very picky about it.
If that doesn’t work, give us the exact process from shooting to AE. What frame rate was it shot on, how it was captured, was it telecine’d, is it stock, was there pulldown, is it 24p video, all that stuff.
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Oops. I was talking about the HVX. Shows how much I pay attention.
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The footage may have been captured (input into the computer) at 23.976. We use a Firestore drive, and the new firmware for the drive allows you to capture 24P right away to Quicktime, with no pulldown. It’s eerily easy. So you may actually be working with 23.976 footage.
If I recall, if you take progressive footage and separate fields, it gets soft.
We don’t need to always trust AE’s interpretation. Have you tried reinterpreting with no field sep, no pulldown removal, opt-clicking on the footage in the Project window, then stepping through the footage with the R arrow key? If the footage moves forward one frame with each click and you see no interlacing, it’s progressive and correctly interpreted.
Let us know what happens.
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Anthony, style frames are really high-level key frames that show the look and feel of important scenes in the spot. Say, if your spot had four scenes or four different looks, you might make four style frames. You probably do that, but with a different name.
Personally … sometimes I sketch storyboards, sometimes I sketch style frames, but when I do fancy schmancy style frames I usually do them in AE, which is often my PS substitute anyway, for the same reasons as Anthony. Then everything is all set up if the frames are approved. If the piece is to be in one comp, I’ll stack the layers, maybe 1-second long, Save Frame As, then stack the layers for the next Frame at :01, Save Frame As, then next stack at :02, and so on.
Hope that helps …
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Hiring contractors would be the way to go at the start. Find a Flash artist and an AE artist and talk to them about what they can and cannot do. Build the network before making an investment in software.
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AE is best for fancy-schmancy non-interactive videos. It might be better to build your business around Flash, and bring in an AE person occasionally.
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You should delete the clip from the FCP sequence then drag it back in.
The switch needs to be clicked before the clip goes into the sequence, if I recall.