Tudor "ted" jelescu
Forum Replies Created
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Did you add grain to match the grain from the footage?
Tudor “Ted” Jelescu
Senior VFX Artist -
I meant that at first glance it seems that you should be able to use 3 cores (2×2 + 1.5=5.5), if you do not take in consideration the other stuff Todd mentioned, but you got the details from the Adobe man himself.
Tudor “Ted” Jelescu
Senior VFX Artist -
Ad a Fast Blur of .3 max .7. Also you could add noise/grain.
Tudor “Ted” Jelescu
Senior VFX Artist -
Not having an idea of the background you will have behind transparent glass can be tricky since glass tends to pick up color from the environment and it distorts whatever is behind. Having movement makes it even harder and if you have anything but a cylindrical bottle … well, I would recommend 3D. However, here’s some ideas:
Make sure you can get a constant rotation.
Shoot the bottle on chroma. – main pass
Shoot the bottle on white. – highlights
Paint the bottle in white- except labels- and shoot on black. – create distortion map for the background
You can use just the regular distortion, however, if you have the budget get FreeForm Pro and use 3d displacement with reflection mapping on the distortion- this way you can have a more realistic distortion of the background.Tudor “Ted” Jelescu
Senior VFX Artist -
leave 1.5 GB for other apps and assign 2GB per processing core- do not be amazed if you get only 2 cores working though, even if the math does not add up.
Tudor “Ted” Jelescu
Senior VFX Artist -
I used to get my smoothies at Jamba Juice… all jokes aside, for a smoother transition you can try a morph with your radial zoom on top.
Here’s a simple morph method using stock AE plugins only:
Use Mesh Warp.
Set 2 layers in a AE comp- the “morph from” layer on top of the “morph to” layer.
Start on the layer you want to morph from- apply Mesh Warp and set keyframe. Move 8 to 15 frames (or as many as you need your morph to be) and change transparency to 50% so that you can see the layer under. Use the mesh warp to distort the features of the top layer to match those of the bottom layer.
Apply Mesh Warp to bottom layer and set keyframe at the end of the transition. Go back to the beginning of the transition and use the Mesh Warp to distort the bottom layer to match the top one’s features.
Set transparency keyframes to animate the top layers opacity from 100% to 0 for the length of the morph.
That’s basically it.Tudor “Ted” Jelescu
Senior VFX Artist -
I think you have the answer- in the clip though I do not think they had need to play the music back at 50% since it was just one long “Ooooooooh!”. Careful planning with what happens in the background is key if you want to seem that all is running at normal speed and not of fast forward. One trick is to make sure nothing crosses behind the character in the front and then shoot a long scene where the front main character does things at normal speed and then comp that on top of itself, speed up the top layer and cut out the main character with a garbage mask, feathered, leaving the background at 100% speed.
Tudor “Ted” Jelescu
Senior VFX Artist -
When you save the RAM preview AE does take some steps to save the frames rendered- it is normal.
https://help.adobe.com/en_US/aftereffects/cs/using/WS3878526689cb91655866c1103906c6dea-7ec9a.html#WS35E1665D-7545-4d6c-8F2A-4D4583A03E16aTudor “Ted” Jelescu
Senior VFX Artist -
AE has a great set of plugins that can achieve the look you’re after.
For the soft glow I would recommend Channel Blur (it can blur the RGB separately) or Remove Grain.
The easiest way to achieve a vignette is to comp the layer on top of itself, draw an oval or rectangular mask set on Subtract and apply Levels to darken the top layer. You can control the softness of the vignette and the expansion by using the Feather and Expand controls for the mask.Tudor “Ted” Jelescu
Senior VFX Artist -
If you precomp then it will not work- Particular needs to be in the same comp as the camera. What you can do is to have a Light set as an Emitter to generate the particles and follow the path. Then you can just duplicate the light and offset it to get multiple instances of the spiral you have created.
Tudor “Ted” Jelescu
Senior VFX Artist