Tudor "ted" jelescu
Forum Replies Created
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There’s quite a few threads on this matter.
You ca search for more, but here are a couple that can give you useful information:
https://forums.creativecow.net/readpost/2/986313
https://forums.creativecow.net/readpost/2/903084
Tudor “Ted” Jelescu
Senior VFX Artist -
To me it looks like it’s just a matter of animating the elements from left to right. As far as the globe image in the bar, you can just precompose the image over the white bar and animate a quick disolve in using the opacity timing it to the moment where the bar ends it’s animation.
Just as a tip- most animations you see on news shows are built using simple techniques like disolves and position change.Tudor “Ted” Jelescu
Senior VFX Artist -
I agree with Dave- although I’m all for in camera fx, if you do not have the perfect setup you’re better off with a chroma shoot. If you can get a top of the line projector that can be nicely balanced with enough light on the subject, and you have an experienced crew that has done this before, then go for the live shoot.If not, chroma will give you more options. Even from a art direction pov, you may want to shoot tests on chroma and comp in a few versions of the moving background to see how it all looks together. Best thing- you have complete control and you can always change the background. If you do all in camera, the only option if you do not like something is to re-shoot.
Tudor “Ted” Jelescu
Senior VFX Artist -
As long as you turn that off in your main comp, it should be turned off for all precomps inside it. The same if you turn it on.
Tudor “Ted” Jelescu
Senior VFX Artist -
Yes- you can turn it off using the switch at the top of the layers in the Timeline panel. Check the following link for more info:
Tudor “Ted” Jelescu
Senior VFX Artist -
Keylight may not give you initially the best results – you need to play around with it.
Here’s a good tutorial:https://www.adobepress.com/articles/article.asp?p=1252172
A simple Google search will bring some more good ones.
Sometimes it is best if you transcode the footage to an uncompressed format and then pull the key.
Tudor “Ted” Jelescu
Senior VFX Artist -
Keith gave you good advice- enhance Saturation, crush Levels, display one channel at the time (RGB) – you may have to play around and see what works for various parts of the image.
Tudor “Ted” Jelescu
Senior VFX Artist -
One workaround would be to duplicate each layer (for the notebooks)and have the layer on the top with “accept lights” turned off- this way it’s not going to have the whites blown out by the light. Animate transparency from 100 to 0 as the notebook passes the critical point to leave the final look untouched.
Tudor “Ted” Jelescu
Senior VFX Artist -
posting a still image will help us better understand the issue.
Tudor “Ted” Jelescu
Senior VFX Artist -
In this situation un-compressing will not bring the info back, but what will do is make AE happy and allow it to deal with each frame in an uncompressed clip instead of having to deal with partial information.
Tudor “Ted” Jelescu
Senior VFX Artist