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Everything posted by willryan

  1. I so wish I could find that PDF of Belief getting ripped still.
  2. I keep my Render Queue panel in the same frame as my compositions — that way when I hit render all I see is the progress of the queue. I think I'm getting the same speed boost as CapsLock without the ALL CAPS SCREAMING. If AE doesn't have to blit the screen each frame, I think you get the speed up either way — but I don't remember the last time (or version) that I tested out the theory. Now I have something to do while eating lunch at my desk tomorrow.
  3. rd_merge_projects — Great find! And holy smokes — the "I've got to catch a plane" trick? That might the best one of all-time. I'm so used to being "on-call" for the inevitable 7pm "oh we really need this tonight" client request that I had all but given up on trying to schedule a life during the week. When you don't know when you can leave, the day ends up spreading itself out too far.
  4. Doesn't interactively scale but there are three sizes to choose from for the UI — the biggest one is ridiculously big.
  5. It basically eliminates the need to add an Adjustment Layer and track matte to isolate an effect in a specific area of a layer. It lets you link any effect to any mask on the layer, as well as pull down the opacity of each effect.
  6. I think there's a Push Apart Python effector in the Broadcast presets hidden amongst the old CS-Tools that ship w C4D. There's also the Fit Effector from Paul Everett that might help.
  7. Thanks for posting the video vozzz — I still get changes in the animation path when I manipulate all three curves at the same time, but it's cool to see it working for someone. I'm not sure what I'm doing different, but it's not locking in like your example. The other thing that might be worth looking into is the Morph Camera — you can setup multiple cameras and link them together and then animate a master camera transitioning through their positions with a Blend, easing the percentage in and out as you see fit. We used it a ton on Pacific Rim when we had to generate a ton of camera setups in a couple days. Place a couple cameras where you want them, drop 'em into a Camera Morph tag and set a couple keys. The cool thing about this option is the original cameras are still live and linked to the master camera, so you can adjust 'em quick and easy.
  8. Vozzz, try keyframing something like a box across a 3 keyframe arc over like 60 frames and look at it with the animation path on and the animated object selected — if you move the bezier handles at all, the path moves all around around the keyframes. I think what Tommy wants is the ability to slide the distribution of all those "tweened" frames along that path without it actually moving the path in space. With a Time Track, you can cheat the ease in or out along the path. It's clunky, but it works. And it's why I now actually turn on "Show Vector Track" in the Timeline Preferences — you can apply a Time Track to all three position axes at the same time.
  9. Read up on Time Tracks — might be able to get what you need with one of 'em.
  10. The opening few seconds on his Everpix one is still my favorites. Great transitions and just enough bouncy overshoots to be charming without feeling overused or automated. You can some reuse of elements in the football piece if you watch the Revolution stuff — but when it's this good it really doesn't matter as long as it's not hero elements.
  11. Well said govinda, and if you had that avatar back in the day I wouldn't have spent 3 months sitting next to you in Glendale last year without realizing who you really were
  12. Not exactly the same look but still scribbly 2D-ish?
  13. I wish. CS5 still - I keep on telling people here about how awesome snapping is in CC. Looking forward to it in the office soon.
  14. Thanks Zook - we were hoping this would get people to stay in their seats long enough to see the Ron Perlman sting at the end! Oeuf - Mirada/Motion Theory was super busy on the opening prologue sequence. Apparently they created a TON of stuff that got cut out. Lots more stuff showing how the Kaiju/Jaeger elements were celebrated in pop culture.
  15. Thanks Joe, we used C4D's Motion Camera and Morph Camera tags a ton to get through all the shots. We had tried adding a bit more handheld noise into the moves but ended up pulling them out since they were distracting. GDT really wanted this to be a calm, serene moment of relief after all the insanity that came before it. "Let me see those sexy robots one last time" might be the quote I remember him saying at one point
  16. It was two full-time artists, an intern, and a couple days with a Flame artist at the end to clean up antialiasing, over four weeks I think? I think we had a zBrush guy for a couple hours a day to help us pose the Kaiju models out too. Then just me and the Flame guy for two more weeks to put together the stereo version. It was some really long hours. All the DoF and motion blur was in post, along with all of the type and background elements. Everything was put together in After Effects (you can't even guess which version we're still using!)
  17. Pacific Rim Main-on-End Titles We just posted our work on Pacific Rim and I had to share it here. I've kinda always shadowed these boards in awe of a lot of the people here, and I've gotten so many tips and tricks for C4D back when I was switching over from Max that I wanted to say thanks to all the peeps that have posted workarounds and genius ways of approaching problems in Cinema. It's been a huge help for someone who's been trying to break into something a little bigger than working on casino games in the midwest If you got any questions, shoot 'em over. We went pretty low-tech, straight outta the box on most of this one just to get it out. If we had more time, we probably would've gone crazy with all the potential in C4D, especially with stuff like Krakatoa, Octane, Arnold, XP2, and now Houdini Engine on the horizon. Exciting times!
  18. I'd been considering a move to Wellington a while ago - my partner landed a job at Weta, but I wasn't sure what kind of work there was there for a mograph generalist. What's the scene like right now? Any good studios on the radar?
  19. This is only tangentially related to After Effects, but I read somewhere that Premiere can leverage multiple GPUs to accelerate rendering. Any idea if Media Encoder has the same capability? I noticed that h.264 rendering has been deprecated out of AE - so we're sending AE renders on over to AME. Are we gonna be slamming as many cards as we can fit into our boxes soon Todd?
  20. There's a great script on aescripts.com called CopyMask2Layer - you could make a duplicate of your layer, delete the mask and scale it to whatever you want. Then use CopyMask2Layer to paste the old mask back on in its original location. It should maintain the animation you had on the mask as well. A bit kludgy in the sense that it's multiple steps - but it should get you where you need to go.
  21. TLL - Method, We're All In This Together This project from Three Legged Legs opened my eyes to actually using Photoshop for traditional animation - it might not be a tutorial but it definitely is an inspiration.
  22. Not yet, but I've been annoying the Gorilla at every turn to find a way to use all of C4D's choice noise options (including multiple voroni flavors) as a source for breaking rather than just animation timing. I think Transform 2.0 will alleviate users' frustrations with it.
  23. Not sure if IF will do a breakdown but I can tell you it was almost all in the model. We started with an 8 million + poly object and DecimationMaster'd it down in Zbrush to start doing our camera moves, while we had another artist rebuilding the whole thing in Topogun so we could rig and animate it in C4D. All the detail was put back in as 4K or larger displacement maps, hence the RIDICULOUSLY long render times until we found out how low a memory limit C4D puts on them unless you change it manually. Most of the heavy lifting was that displacement map with a fairly simple shader underneath. And the Physical Sky for almost all of our lighting.
  24. It's absolutely necessary to custom chunk your model if you want to use the plugin in anyway that isn't a complete tell that it's being used. I've done exactly what you're talking about but with Nitroblast - it is kinda neat in Existing Parts mode for some quick animations. Transform has potential, especially for quick turnarounds, but it feels like it was released too early: training wasn't ready at launch, there's no custom chunking besides a limited shader mode, and I don't think you can save your hard built custom movements as presets. I stand up and applaud an artist for being an entrepreneur and I've seen Nick's tools (particularly City Kit) used in a professional environment multiple times, but you shouldn't have to own another plugin to make the one you just bought functionally useful. I'm betting a lot of the shortcomings get addressed in a 2.0 release.
  25. Yep. Apparently the Deadline guys were as surprised as we were.
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