Tudor "ted" jelescu
Forum Replies Created
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You may want to consider a different way of doing this. Build the drawing in AI and use the brush strokes/ink strokes for interesting lines. This way you can get close up to the line and you will not use the quality. Separate your lines in layers and then just animate masks to reveal the lines.
Tudor “Ted” Jelescu
Senior VFX Artist -
Nothing on the link you posted.
It sounds though like you may make use of this thread:https://forums.creativecow.net/readpost/2/988879
Tudor “Ted” Jelescu
Senior VFX Artist -
Better said – that’s what I meant.
Tudor “Ted” Jelescu
Senior VFX Artist -
You need to pre-render the Trapcode layer/layers if you want to export layers to PSD. Since there is no Trapcode Form for PSD you can’t replicate that effect there.
Tudor “Ted” Jelescu
Senior VFX Artist -
If your edit is done, which it should before coloring, you can import your PPro and get the whole timeline in one comp. However, I think that it is best to grade each shot individually.
Tudor “Ted” Jelescu
Senior VFX Artist -
I just recently finished a project using Psunami. It involved an extreme camera move. I tried to use Bryce as well, but there was no way of matching the camera so I ended up using Zaxwerks Invigorator Pro. I ran in the same issue as you did and ended up doing an animated mask as it was suggested. Not liking the final result very much I added a layer using particles (Particular) to simulate water splashing as the ship split the waves. I can not post the final result because the project is not delivered yet, however I can post a test I did that involves FreeForm and 3D displacement to cover the area where the object meets the water (in this case a shark fin):
https://www.youtube.com/watch?v=sbV45M_qOeA
Hope this gives you some ideas.Tudor “Ted” Jelescu
Senior VFX ArtistSome contents or functionalities here are not available due to your cookie preferences!This happens because the functionality/content marked as “Google Youtube” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.
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I suppose there may be different approaches tackling this, but here’s what comes to mind now:
Render out of FCP the segments that need color grading separate. Import them in AE and create separate projects. Grade each scene separately. Once you are done create a Master comp and assemble the scenes back together for final render. Depending on how complex your grading is (if you just use one pass or multiple passes with masking) you may want to render each individual scene uncompressed (I know, huge files but that’s how you keep quality) and then assemble for final.Tudor “Ted” Jelescu
Senior VFX Artist -
Color grading should be done at the end of your pipeline. So you should not have a need to bring it back to FCP. Do all editing, then the vfx/graphics, and at the end the color grading. Once that is done use Adobe Media Encoder to open the AE project and select your final comp to render the compressed mpeg for DVD.
Tudor “Ted” Jelescu
Senior VFX Artist -
If you use Real Shadows plugin from Image Lounge/Red Giant there’s an option for Avoiding clipping. I am not sure if the plugin that you are using has that. If not, you can always precompose the keyed footage and make the size of the precomp the same as your final comp and then apply the shadow effect.
Tudor “Ted” Jelescu
Senior VFX Artist -
While your method may work on some projects, I would recommend looking into Color Finesse (comes with AE now)or Colorista (Magic Bullet). These are really designed for color correction and grading for video.
Tudor “Ted” Jelescu
Senior VFX Artist