Steve Roberts
Forum Replies Created
-
Aaron, thanks for all the tutorials. You really have a gift for that sort of thing.
Congratulations on the new little one, and here’s to a rewarding new phase in your life.
Take care,
Steve -
[Ryan Holmes] “If you aim towards an Uncompressed codec or an Animation codec you’ll probably retain the highest quality.”
… until it comes time for the final render. If Ben wants to render to DV out of AE, rendering to unc/Anim/TGA won’t give better quality if he’s just going to encode that to DV right away.
Of course, it will preserve quality if the movie requires more processing in other apps before the eventual render to DV.
-
If the clip of the actor and background has already been shot, you need to rotoscope the actor to separate him from the background. To rotoscope, you draw a mask around the actor and animate its shape over time to follow the changes in the actor’s silhouette. Study the motion of the silhouette carefully to determine when to make keyframes of the mask shape, letting the software interpolate shape changes between those keys.
If the clip has not yet been shot, you could consider shooting it twice with a locked-off camera: once without the actor (background only), and once with the actor and a bluescreen on wheels behind him, following him as he goes. This would allow you to key out the actor, or most of him at least. If you do this, shoot a test first to work out any issues. Be aware of other people in the shot — they cannot pass in front of the actor in this scenario, or you’d have to rotoscope them.
-
Given that sawdust is very fine, you wouldn’t really see it until it hit the “camera” and starts to clump up, no? Couldn’t you just make little bits appear in frame rather than use flying particles?
Say, by using the never-used Dissolve mode (whee!) for the logo or maybe a gradient wipe with Fractal Noise + Noise (precomped) as the gradient to bring on the logo?
Something like that.
-
Use Cinema 4D.
-sweep NURBS
– circle
– spline -
Have you tried “roving keyframes” for the camera layer?
-
Hmm … any chance you could dupe the shadow casting layer, set it to “cast shadow: only”, but blur it with Fast or Gaussian Blur?
This way you could keep your diffusion level low and get the same look. Maybe.
-
Ah. One for the memory bank. 🙂
-
Hmm. I just made a comp, with two solids, added a camera and spotlight, made the solids 3D, moved everything apart in Z, and added a rectangular mask to the upper solid, and animated its shape to reveal (wipe-like) the upper solid. No problems with the shadow. Adaptive Res, 50%, halfRes.
Maybe you could try that in a new project, and see if it works. Whether it does or not will help us figure things out.
BTW, I’m on AE 7 on this laptop.
-
Excellent. Just remember — by default, AE interprets image sequences as 30 fps, so you might need to re-interpret it as 29.97 or whatever you want it to be. Then drag it onto the New Comp button.