Tudor "ted" jelescu
Forum Replies Created
-
You can create a bunch of masks on a black layer and just adjust them to the size you need for the words to fit. I do not know of another way to do this.
Tudor “Ted” Jelescu
Senior Compositor/VFX Artist -
https://www.smartsound.com/sonicfire/
They did offer a free download with some free tracks- there’s actually a lot you can do to custom design a track with the stuff they give you.
Tudor “Ted” Jelescu
Senior Compositor/VFX Artist -
Unfortunately it looks like you have to bite the bullet and do the rotoscoping. Roto brush may work, but I have the feeling that in the shot you described it will not.
To create a clean plate (to pull a difference key) choose several stills from the clip where different parts of the billboard are revealed and use PSD to create one. This may be your best option.Tudor “Ted” Jelescu
Senior Compositor/VFX Artist -
You may get some good ideas from here:
https://maltaannon.com/articles/after-effects/milg5-form-face/Tudor “Ted” Jelescu
Senior Compositor/VFX Artist -
You could try some more tests- if you use the model from the example site it will not get boring…
On a serious note- are you shooting DV by any chance?
If so, many of the issues come with the footage itself. Also the camera you are using may influence the way your final looks.
Since I do not know those specs here’s a few things to think of:
Use a HD camera.
Convert the final clip to a lossless format before you pull the key in AE- this way you will get all the color info in all your frames.
If you have to use DV- shoot with the camera sideways (this way you get a much larger image of the subject), skip the tape and record to a conputer directly and then convert to a lossless format before you pull the key.
Combine Keylight with a Matte Choker.Tudor “Ted” Jelescu
Senior Compositor/VFX Artist -
That would be hard. You could try to shoot chroma and then use Mesh Warp do distort the image, but it depends on the storyboard, how many shots/angles/duration… it could be a lot of work or A LOT of work.
Tudor “Ted” Jelescu
Senior Compositor/VFX Artist -
It is a “16mm” end of film look, or something like that.
It’s a combination of flashes of light (use levels) and color correction of the image to bring that to orange tones (use a Photo filter or Colorista to do that). Of course it involves animating the above to “flash” a few times before a transition/cut.
Sometimes you can ad a 50-30% orange layer on top and animate some feathered masks to create some “blobs” of color that grow over the image.
I’m sure you can find some good tutorials if you google it, but that’s my way of doing it.Tudor “Ted” Jelescu
Senior Compositor/VFX Artist -
Here’s a few ideas of how to do this:
1- The “forget the footage and fake it” way. Not the most elegant but works at times and it’s quite easy. Create a series of stills from your footage (export from AE stills when the details at the top of frame reach the bottom) and stitch them in PSD (much like when you create a still panorama from separate shots). Draw a path on a separate layer. Bring all in AE and animate an AE camera over the “panorama” of the landscape while revealing the path.
2- The ” dig in and loose some sleep” way. Get a 3d tracker – Boujou or SynthEyes or the free Voodoo, and do a 3d camera track. Export the camera to AE. Create a path on a 3d layer. Position over the footage so that it matches the perspective, altitude, size… Precomp leaving all attributes in the initial comp. Open the precomp and animate mask that reveals the path.
3- Try Mocha, contrary to what Dave said (most times I agree with him, but I’m only human..;-) I think it may prove useful.
Tudor “Ted” Jelescu
Senior Compositor/VFX Artist -
To achieve that effect you need a motion control rig, multiple passes and yes, I’m afraid you will need to do some morphing to get the desired result. Here’s a simple all AE morphing recipe that I posted before:
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 ( eyes to match the eyes, mouth to mouth and so on..).
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 Compositor/VFX Artist -
Yeah, it would help us to know if you are working in FCP with interlaced or progressive footage. Most times a clip will play jittery if it is a interlaced clip with the wrong field dominance.
Tudor “Ted” Jelescu
Senior Compositor/VFX Artist