Tudor "ted" jelescu
Forum Replies Created
-
Reverse the base footage, work the effect in and then reverse the final result back.
Tudor \”Ted\” Jelescu
Senior VFX Artist -
Try using a matte from the luminance of the footage itself to isolate the smoke and then to build layers on top with smoke from the footage itself and hide the hand. As far as the napkin goes, you can not really slow that down without affecting the smoke, so covering that up as it comes down would be the only option here.
One other option would be to do some time remapping and glow effects (synced to the audio beat) to stylize the footage and thus hide the hand and napkin fix.Tudor \”Ted\” Jelescu
Senior VFX Artist -
Asking for the best bit rate without knowing what the video will be used for will get you nowhere. Find out what the renders will be used for- playback (and if so, on what), editing, some other post processing (grading, fx..) – then you will be able to get a specific answer.
Tudor \”Ted\” Jelescu
Senior VFX Artist -
split them up in folders that have a lower number of stills, import each as sequence, cut together and export
Tudor \”Ted\” Jelescu
Senior VFX Artist -
duplicate layer, add directional blur on the top one and mask out the areas you do not want affected,
Tudor \”Ted\” Jelescu
Senior VFX Artist -
Not sure if this is how it’s done, but you can achieve this effect if you take several frames from a shot where there is camera movement and morph in between them.
So let’s say you pick the following frames from a second of footage (25 fps example):1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24
You would morph from 1 to10 in 25 frames, then from 10 to 1, again from 1 to 10 and then 10 to 18. Then 18 to 24, 24 to 18 , 18 to 24, 24 to the next frame you pick up. You may need to play around a bit until figure out the frames you pick and the amount of frames in which the morph happens so that you can match the beat.
I hope it makes sense to you.
Tudor \”Ted\” Jelescu
Senior VFX Artist -
Depending on what you need, how much detail you need to see, you can either get away with 2D cards spread out in 3d space to create the illusion of a city or go full blown in Element 3D – use the Metropolitan model pack .
Tudor \”Ted\” Jelescu
Senior VFX Artist -
One quick tip regarding the interaction of the water with objects (the bridge): you can add an animated elements layer (or a few) in the depth map comp (on top of what’s already there) and position them to match the position of your bridge. This way you can simulate interaction – like in the demo video for AquaPack when the logo comes out of the water.
You can also add texture to the texture map comp to have the base of the bridge pillars come out of the water in FF Pro and then comp them and blend them in the ones from Element 3D or C4D bridge.
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 “Vimeo framework” 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.
-
You can use text on a 3D layer. To achieve the 3d text look you can just duplicate the layer once you animate the move in 3d space, change the color to black or dark grey and offset by a few units on the layers z axis. To get thicker text, use 2 or more duplicate layers.
Once you animate all titles, bring that composition into the main comp over your background footage and set a mask with a feathered edge on the x axis over the layer, to have the text fade away as it moves towards the left edge of the frame.Tudor \”Ted\” Jelescu
Senior VFX Artist -
The only thing that comes to mind right now would be an animated mask with a variable feather on a white solid layer and then play with transparency. This way you can simulate a volumetric light when it’s in front of the camera.
Tudor \”Ted\” Jelescu
Senior VFX Artist