Slugline

Simple, elegant screenwriting.

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  • Panasonic LUMIX DMC-GH4KBODY 16.05MP Digital Single Lens Mirrorless Camera with 4K Cinematic Video (Body Only)
    Panasonic LUMIX DMC-GH4KBODY 16.05MP Digital Single Lens Mirrorless Camera with 4K Cinematic Video (Body Only)
    Panasonic
  • TASCAM DR-100mkII 2-Channel Portable Digital Recorder
    TASCAM DR-100mkII 2-Channel Portable Digital Recorder
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  • The DV Rebel's Guide: An All-Digital Approach to Making Killer Action Movies on the Cheap (Peachpit)
    The DV Rebel's Guide: An All-Digital Approach to Making Killer Action Movies on the Cheap (Peachpit)
    by Stu Maschwitz

Entries in Adobe After Effects (82)

Thursday
Nov162006

Film Burn

OK, so you've bought your 35mm lens adaptor for your DV camera and you've shot your requisite things-coming-in-and-out-of-focus backyard test footage. You've even got it all cut together to some nice mopey guitar music. But something's missing.


filmBurn.ffx is an After Effects 7.0 Animation Preset that automatically creates the overexposed "roll-out" effect, where the tail (and the head if you want) of a clip flickers into overexposure. It's aware of the in- and out-points of your footage layers in the After Effects timeline, so you can experiment with different effects just by trimming your layers differently.

When you apply the preset you'll see several control sliders. Here's what they do:

Overall Flicker Amount controls a general exposure flicker that runs through the whole clip. Set it to zero for no flicker.

Overall Flicker Speed (fps) controls the flickers-per-second. Larger number = faster flicker.

Cut Flicker Speed (fps) controls the speed of the flicker effect that happens at the head and tail of the clip.

Cut Flicker Amount controls the intensity of the flicker effect that happens at the head and tail of the clip.

Max Burn (stops) controls the exposure, in f-stops, of the burn effect.

Tail Burn Max Time (frames) controls the length of the burn effect at the tail. Note that the length is randomized, so this value represents the longest burn you'd ever want to see, measured in frames.

Head Burn Max Time (frames) is the same thing, but for the head of the clip. Set it to 0 for no head burn.

Burn Tint allows you to select a color for the burn effect.

The last effect is the Exposure effect that makes it all happen, and you should not touch any settings here.

The fun thing about this preset is, if you have your edit assembled in AE, you can simply select all the layers and apply it. Easy!

This effect works really well with Magic Bullet. Just apply Look Suite to an Adjustment Layer over top of all your trimmed layers, and select the preset of your choice!

Download filmBurn.ffx (4kb ZIP file)

And remember, you can subscribe to ProLost TV in iTunes.

Music: Life From Afar by Oswald.

Tuesday
Nov072006

Free Squib Element

I've updated the Rebel's Guide site a bit and added a page about the squib elements included on the book's DVD. You can download a free sample while you're there. Comp it into your next shootout scene!

Thursday
Oct262006

Corona


A simple solar corona project for After Effects 7.0. Fixing the seam is left as an exercise for the reader.

Download corona.aep (zipped)

Music: The Flight of the Alone to the Alone by 2-RD

Sunday
Oct222006

Rebel CC

The response so far on my upcoming book has been wonderful, so I wanted to give you more than a tease of what’s to come. I’m working on my last chapter right now (!), and it’s all about mastering or onlining your film. It probably won’t surprise you that I advocate doing this in After Effects rather than your NLE software. The power and control AE offers is just too much to ignore. But for all that power, there’s one big piece of the puzzle missing, and that’s a simple, elegant, telecine-style color-correction tool for coloring or grading your movie.

Enter Rebel CC. Although not as awesome as a real plug-in, this Animation Preset uses color swatches to drive a Levels effect using rather deep expressions.

You start by eyedropering your blacks, whites, and grays to optimize the image. These steps are optional—you can do them or not, or you can do only one or two of them if you don’t need to do all three. The eyedropper method is a nice fast way to perform the first stage in color grading: grading for consistency.

You perform the next step, grading for look, by using the color picker as a makeshift color wheel. Not as fast or interactive as one might like, but the control is there. You can set colors for shadows, midtones, and highlights, and you can even recover color information that may have gotten lost when you sampled your black and white points.

But why read about Rebel CC when you can watch about it? I made this quick video to show it off:

 


Download Rebel CC and place it in your Presets folder (in your After Effects application folder).


Music: Colour in My Mind by The Youngbloods

 

(Updated 061022 1:00pm PST to fix a compatibility bug)

See also: Colorista Free