William J. meyer
Forum Replies Created
-
Blahtor,
Well, I guess it was over a month ago–but I just experienced a similar issue and was searching through here — comparing your screenshot with my comp revealed what the prob was for me, anyway.
If it helps you, I deleted an effect from my problematic precomp and it now acts as expected. I see the effect icon on your precomp also. I note that simply turning off the effect did nothing, but deleting it wholesale did the trick. In my case, shadows were acting erratically and now behave properly.
If this doesn’t work for you, at least let me thank you for posting your screenshot which triggered my solution.
cheers,
-williamThe House That Jack Built
https://www.thehousethatjackbuiltmovie.comOS X.5.5
MacPro 8-core (2X 2.8GHz Quad-Core Intel Xeon 5400)
ATI Radeon HD 2600 XT -
Joshua,
Yeah, sorry, I used MPEG Streamclip, That solved the problem I was having. Maybe it was a related problem and not identical. I wasn’t exporting VOBs but MOVs.
Good luck!
take care, wjm
Now in post-production
The House That Jack Built
https://thehousethatjackbuilt.wordpress.com
OS X.5.5 MacPro 8-core (2X 2.8GHz Quad-Core Intel Xeon 5400) ATI Radeon HD 2600 XT -
Hi! I just experienced the same issue today. I discovered somehow the frame rate field was empty in the Movie Exporter window. So I entered 29.97 and the resulting QT now had the audio properly synched.
Hope that helps your situation!
-william
Now in post-production
The House That Jack Built
https://thehousethatjackbuilt.wordpress.com
OS X.5.5
MacPro 8-core (2X 2.8GHz Quad-Core Intel Xeon 5400)
ATI Radeon HD 2600 XT -
Hi Trevor.
Here’s a suggestion outside of AE CS3, but I used AE CS3 to composite and augment the results. Letting nature’s own “organic simulation” handle the tough stuff saved a lot of time and the results are very naturalistic.
Fill a zip-lock bag with baking flour. Get a black drop cloth. Roughly open the bag below the camera’s field of view. The flour particles will shoot up. Blow on them if necessary/desired. Record the drifting flour using a long lens to create interesting depth of field on the “snow.”
In AE, apply Knoll’s Unmult to the layer to create transparency from the black cloth. You might have to play w/Curves (stacked before Unmult) for cleaner results. Apply a Lens Blur to the footage and increase the Specular Threshold. Adjusting the Specular Brightness will give the brighter bits of flour that neat nearly-but-not-quite glitter quality you see in drifting snow on a clear, sharp day (at least here in Wisconsin!).
But if you do go w/Particular, let us know your approach. 🙂
take care, wjm
Now in post-production
The House That Jack Built
https://thehousethatjackbuilt.wordpress.comOS X.5.4 MacPro 8-core (2X 2.8GHz Quad-Core Intel Xeon 5400)
ATI Radeon HD 2600 XT -
Hi Simon,
How about this:
Create two precomps of identical dimensions, twice as wide as they are tall. One of these will be your map of the Earth. The other will be the animation of your airplane routes over a transparent background.
In a master comp, apply CC Sphere to each of the above precomps. Give the airplane route comp a slightly larger radius. Now the routes will bend over the Earth globe but maintain their starting point.
Of course, you’ll have to fiddle with the CC Sphere controls to turn the globe properly toward the viewer.
Bon chance!
-william
Now in post-production
The House That Jack Built
https://thehousethatjackbuilt.wordpress.comOS X.5.3 MacPro 8-core (2X 2.8GHz Quad-Core Intel Xeon 5400)
ATI Radeon HD 2600 XT -
Hi Josh!
Depending on the shot I think it would easiest to do this in-camera, hiding another 2 people’s arms under a custom-made sweater resembling the one in the photo and obscuring their bodies with the foregrounded performer. If the shot(s) are more complicated, you’d probably have to shoot green screen and key/roto-out the other performers.
If you want to use just one person, and not a green screen, then maybe consider timing a routine where one performer does all the arms offset in space and time and then you roto the arms out of the additional videos. Here’s a related tutorial on AE “cloning” using the same technique, but for whole bodies:
https://www.durbnpoisn.com/films/cloneTut/index.asp
I think the easiest and quickest way (though also the least “real”) is to cut out the additional arms just once from a still (say in Photoshop) and use AE CS3’s puppet tool to animate the arms, attaching them to the video footage of the perfomer.
In every case but the first, the join between the added arms and the body will be the make-or-break point. Try pre-composing the arms and using feathered masks.
I hope some of these ideas spark an approach for you.
take care, wjm
Now in post-production
The House That Jack Builthttps://thehousethatjackbuilt.wordpress.com
OS X.5.3 MacPro 8-core (2X 2.8GHz Quad-Core Intel Xeon 5400)
ATI Radeon HD 2600 XT -
Hi!
Gareth Edwards was also interviewed by fxphd, and that may help you as well:
https://www.fxguide.com/modules/fxpodcast/files/fxg-080204-attila.mp3
Here’s a tutorial using the AE plug-in Trapcode Particular to generate a crowd:
https://www.wonderhowto.com/how-to/video/how-to-make-a-crowd-with-particular-in-after-effects-18735/
I also think you could use Lloyd Alvarez’s 3D layer distributor script to spread out your greenscreen footage to create the army. It would take a little sting off doing it by hand:
https://aescripts.com/2006/06/12/3d-layer-distributor/
By the way, I have not tried any of these, but have been thinking about it. 🙂
take care, wjm
Now in post-production
The House That Jack Built
https://thehousethatjackbuilt.wordpress.comOS X.5.3 MacPro 8-core (2X 2.8GHz Quad-Core Intel Xeon 5400)
ATI Radeon HD 2600 XT -
Hi.
Besides disengaging the sound, you could change it to something fun.
The folks at Toolfarm have this little tutorial…https://www.toolfarm.com/tutorials/rndrsnd.html
That way, R2-D2 can beep at you when a render is complete. 🙂
take care, wjm
Now in post-production
The House That Jack Built
https://thehousethatjackbuilt.wordpress.comOS X.5.3 MacPro 8-core (2X 2.8GHz Quad-Core Intel Xeon 5400)
ATI Radeon HD 2600 XT -
Hi Brian,
Trying to imagine the shot as you described…
…you’re trying to recreate the flicker of TV light against the actor, as well as the shadow on the back wall…
…I think I would cut out the actor and the chair using masks in order to create an empty wall without the constant shadow you mentioned (perhaps I would use Photoshop’s clone tool on a still frame from the footage, or find a free texture map online), and then likewise create a mask of the shadow that you did shoot. So, I’m suggesting three layers. Top layer: masked actor, chair and foreground. Middle layer: masked shadow. Bottom layer: New, empty wall.
Now you can control the shadow’s exposure, etc with color correction filters and try-out the wiggle expression on its opacity.
I think you can get decent results depending on the accuracy of your masks.
As far as the flicker of light on the rest of the scene, I’d try an adjustment layer with the Exposure filter and use the expression pickwhip to connect its strength to whatever you’ve keyframed or expressioned on the aforementioned shadow layer.
I’m just brainstorming.
take care, wjm
Now in post-production
The House That Jack Built
https://thehousethatjackbuilt.wordpress.comOS X.5.3 MacPro 8-core (2X 2.8GHz Quad-Core Intel Xeon 5400)
ATI Radeon HD 2600 XT -
Kevin,
I read about a workaround this morning on Video Copilot:
https://www.videocopilot.net/blog/?p=197
with an original thread on CgSociety:
https://forums.cgsociety.org/showthread.php?f=10&t=643310
The solution saves the gamma changes in the file itself, so clients on other machines should see what you see without the need for pref changes.
ciao,
wjmNow in post-production
The House That Jack Built
https://thehousethatjackbuilt.wordpress.comOS X.5.3
MacPro 8-core (2X 2.8GHz Quad-Core Intel Xeon 5400)
ATI Radeon HD 2600 XT