Tudor "ted" jelescu
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Dave’s absolutely right, however, if you have to do it in post, this tutorial may help you:
https://www.videocopilot.net/tutorials/blood_splatter/Tudor “Ted” Jelescu
Senior Compositor/VFX Artist
Bucharest, Romania -
If the plates you’re trying to remove are those on the cars that pass by really fast…. my question is why? But regardless, the few frames that the licence plate is visible can be painted or blurred (the region).
Tudor “Ted” Jelescu
Senior Compositor/VFX Artist
Bucharest, Romania -
Whatever the problem is- don’t render swf straight from AE!
Use Adobe Media Encoder for that- I’ll bet your problems will disappear.Tudor “Ted” Jelescu
Senior Compositor/VFX Artist
Bucharest, Romania -
No- he’s suggesting you make a garbage matte around it so that when you use a plug-in that can select a color and changes it, that will not affect the rest of the frame.
Tudor “Ted” Jelescu
Senior Compositor/VFX Artist
Bucharest, Romania -
I think you answered it yourself- pretty straight forward 2.5D animation. That is 2d artwork, some animated, laid out in 3D space, with camera moves and some effects.
Tudor “Ted” Jelescu
Senior Compositor/VFX Artist
Bucharest, Romania -
You may still use the single object render for the transition and then cut to a 2 object render for the rest- kinda’ hard to say since I do not know how your animation looks like.
Tudor “Ted” Jelescu
Senior Compositor/VFX Artist
Bucharest, Romania -
Interesting question. I do not know if there’s a way to adjust the shape of the light- maybe there will be someone who can help with that- but what you can do, is to have a 3d layer (black square, 400×400 pixel or so) with a mask (rectangle) cut in the middle, set in front of your light (perpendicular on the beam) and parented to it. Turn cast shadows on and there you have it- by manipulating the sides of the mask you get pretty much the same effect as you would from barn doors.
Tudor “Ted” Jelescu
Senior Compositor/VFX Artist
Bucharest, Romania -
From what I understand, you have 2 objects that are going one in front of each other at various times rendered out form your 3D software, together with a depth matte. Are the objects rendered out separately and you want to composite them as individual layers in AE? If so, you may need to do some masking to reveal the proper one in front of the other and it may prove a pain. Best way to do it is to render out both objects in one pass, with the depth matte. Then you won’t have to worry about not being able to have the right one in front, and you’ll be able to use the z-depth information with the AE plugin to composite.
Tudor “Ted” Jelescu
Senior Compositor/VFX Artist
Bucharest, Romania -
Read the links Todd provided earlier.
Here’s an extract from the adobe site (link below):
“3D Channel effects read and manipulate the additional channels of information, including z-depth, surface normals, object ID, texture coordinates, background color, unclamped RGB, and material ID. You can layer 3D elements along the z axis, insert other elements in a 3D scene, blur areas in a 3D scene, isolate 3D elements, apply a foggy effect with depth, and extract 3D channel information for use as parameters in other effects.If you convert a layer with a 3D Channel effect to 3D and view the layer from anywhere but the front and center, it doesn’t appear as expected.
To display depth and other channel values for a pixel in the Info panel, apply a 3D Channel effect, and then—with the effect selected—click the pixel in the Composition panel or Layer panel using the Selection tool.”
Tudor “Ted” Jelescu
Senior Compositor/VFX Artist
Bucharest, Romania -
The whole idea of rendering out a grayscale depth pass is to be able to use them in compositing applications that can not interpret depth data. So, it’s the same idea as in a displacement map- white is the closest to camera, black the farthest. By compositing the footage on top of itself and using the grayscale images as mattes for applying effects you can apply blurs, and the objects that are far away are affected the most, thus creating the illusion on depth of field. Also, with color correction you can reduce saturation and tint the objects in the back.
Hope this makes it more clear.Tudor “Ted” Jelescu
Senior Compositor/VFX Artist
Bucharest, Romania