[Thehardmenpath]

There can be a lot of discussion about this. Many animators only work on 12 fps except for walking cycles where the camera moves. A 12 fps camera does not use to work. It’s fascinating that most of those things discovered during the early Disney features can’t suit that ad you made… because there was not such a camera movement in those days.

In the Wallace and Gromit feature there’s a lot of 24 fps camera with 12 fps animation. But I can only talk about the first minutes of the movie, because later I got hooked on the story, which is what seamless animation has to do. And I didn’t experience that in Waking Life. There I got bored after a while.

I think one of the things needed for this kind of animation is to keep still objects really still and avoid a Dr Katzesque shake. We are used to tiny movemets of parts of the body that aren moving a lot in real life and Pixar has managed these details wonderfully for 3d, but if you are talking about 2d or that filtered animation, too many things get your attention at the same time.

For example, in your great ad again, the camera does not look that artificial for me, as the shape changes in the backround wall.

[Thehardmenpath]

I love matte chokers. I use them about 20 times more than I use keying. They are great for softening poligons and such.

[Thehardmenpath]

Ouch, that sounds just like a 7.1 fix.

[Thehardmenpath]

It’s easier than you think. Click on FILE/Run Script… and browse the downloaded script in your hard drive.

Both scripts yikesmikes says will open a palette and give instructions for proper use. Good luck!

[Thehardmenpath]

It’s easier than you think. Click on FILE/Run Script… and browse the downloaded script in your hard drive.

Both scripts yikesmikes says will open a palette and give instructions for proper use. Good luck!

[Thehardmenpath]

Hey, what a nice video!

Here is my bet:

Hands on a chroma with references (crosses, white points, etc) that get tracked later. For instance, a couple of points that define the ANGLE of the discs that are used.

Then, record on the street with each individual element. There’s a slight jump with the first car at 0:03 that makes me think that it was filmed in two parts. Cars have to get recorded making the full circle.

Then, each car has to get isolated (roto, perhaps) and each frame has to get an angle value. They must drive slow for more angle/time resolution.

Then, you join these angles with the recorded angles of the discs. The hardest part was probably to match exactly the rotation of the discs with the rotation of the cars. I don’t mean the track, but the position of the cars to make a full exact circle.

[Thehardmenpath]

Congrats Andrew!

I don’t exactly know what kind of superpowers get those leaders above, but just to call you “leader” in the AE field, makes justice.

[Thehardmenpath]

Thanks for sharing such a cool project with us!

BTW, there has been a slightly similar introducion in today’s Oscar ceremony. If we compare, money matters go to he Oscar side, but your promo does a much better and seemless camera job.

[Thehardmenpath]

Thanks for sharing such a cool project with us!

BTW, there has been a slightly similar introducion in today’s Oscar ceremony. If we compare, money matters go to he Oscar side, but your promo does a much better and seemless camera job.

[Thehardmenpath]

There is, I am not used to it, but there is an option for that since version 6, I think, called “smart mask interpolation”.

But for what you want to do, just duplicate the layer and make a track matte. This is, make the “modes” visible in the timeline. Now delete the mask in the lower layer and, in the “modes” column, where there is a “none”, choose in “alpha matte (name of the upper layer)”. Now rotate the whole upper layer as much as you want.