I delivered an animation file (they wanted a master copy) which was pretty decent, but once uploaded onto vimeo, it just went beserk. Have a look at the intro here (the first 12 seconds) My main issue with banding is its combination with online compression which leads to those unwatchable pixel splotches. Also, like Neil rightfully pointed out, the simple scenes are the worst: a lens flare flickering on a black background may give the worst headaches. If you freeze the video, especially round where the sun flare occurs - round 4'33" - the banding can be seen but it really isn't bothering while it plays. Otherwise I'd say the quality is very reasonable although I think it is also due to the lots of action going on which doesn't give the eye the time to focus on the artifacts that may occur. Yeah Beavertron, I think that what mostly affected the quality of your file is youtube's compression. Obviously there's something basic i do wrong, i hope you can help me out anyway. So there must be a proper solution to this.
if i turn the saber to a 3d layer (yeah, i know, that's not a proper workaround because it's not intended to work like that.) it works but it produces crappy quality (surprise surprise). Saber doesn't, which is also sad in the tutorial but how do i manage that the mask on the saber-layer works together with the camera? i don't wan't to "fake" volumetric saber like explained in 14:00, i just want it to go along with the camera. If i build a logo inside E3D from a text layer, add a second solid with saber and change the core type to text layer (layer mask won't help either if i create a mask from the textlayer before) and change the position of the camera, the e3d-layer will go with it because it supports 3d space. I'd really like to know how Andrew did the comp at 16:45 of the tutorial with the CORE-Logo build inside E3D.
I'm a bloody noob and just started working with after effects itself so there's a good chance that it's just a basic think which i don't know about but.
Once again - it is an amazing tool, so many thanks for all the the efforts!
ADOBE AFTER EFFECTS 2014 CRACKED UPDATE
Perhaps this is an easy thing to implement and could be a feature of an update soon Mr Kramer? :-) What would be brilliant is to have the ability to use the saber effects of just the glow and noise. The 'Blend on top' checkbox under the core distortion seems very close the mark I thought - but unfortunately - this still retains the visibility of the distorted core but doesn't seem to allow to hide it completely. use the plugin to create advanced smoke and atmosphere effects, with all the ease and features of controls that saber already provides. I am looking for a way to completely disable the core visibility to do exactly what was Pilcha suggested. This is certainly a great feature - but not exactly what I'm after. Yes, I have watched the introductory tutorial and was aware of the plugin's feature and ability to use the 'Mask Core' alpha mode under the render settings. Thank you all for your thoughts and comments. I just wanted to know if AE will treat the digital 2D circle shape in the same way when footage is brought into AE and 2D camera tracked.
ADOBE AFTER EFFECTS 2014 CRACKED FULL
The question is, as the camera moves from left to right, would that solid cicle shape gradually change from a full circle to an elliptical type shape as shown in 'B'? I ask because if one were to place a Hula hoop (which is circular as we know) on a 4 feet stand and stuck the stand on the ground, if one were to move left or right while looking at the hoop, our vision combined with optical physics changes or bends the shape of the full circle and then transforms the hoop into more of an ellipse/oval. What if one then creates a solid circle shape in AE as shown by 'A' in the picture below. That plate is then brought into AE and the 2D tracker is applied. Hi all, let us assume one shot a live action footage plate in their garden, where the scene is the camera looking straight ahead at a tree for example and then the camera operator walks from left to right with the camera still looking ahead.
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