Yeah, none will do.....nothing. Sly, eh?Rather than a duplicate embed, you might be able to put a sneaky grade layer between the ship and everything else, and link the light wrap to the grade layer,. Make sure you set the light wrap blend to Lighten, too, because it's Just Better.Atomic could be pretty awesome.ALSO, here's a thing: Apply a polar warp to your fractal noise. This'll wrap it into a circle. If your noise is moving 'up' the screen, it'll then be moving 'outwards' after the warp. A few duplicates of that could be easier than positioning loads of separate comps as in Kramer's tute. A few duplicates of the polar warped noise creates a pretty nice result.
The "sneaky grade layer" worked great! Thank for that hint.Since an Environment map source set to "None" will, by default, attempt to use the entire existing comp, you can see why I assumed it would be the same with Light Wrap. ;-)Test above EDIT:(DELETED) END EDIT, I tried using the fire generator rather than fractal noise to generate my polar warps. I'm not happy with the look, but figured I'd try it to be different. Next--Atomic.EDIT: And a version using Fractal Noise and Polar Warps and slowed to 30 seconds....https://www.youtube.com/watch?v=yMenbPVh8Qw
I've been using the ocean forum to create some interesting effects. Not sure when I'll use it, but looks pretty cool!
Oh DayDreamBicycle that looks awesome
Interesting muzzle test. More info?The star is a bit day-glo still, and the glow around the edge is more like a solid white band. If you look at Axel and Kramer's versions, the halo glow is a bit more nuanced.
Absolutely right about the star test. :-) Thanks for the notes. Last couple of weeks I haven't had my normal 5-10 hours of just playing with VFX time. Only getting an hour or two, so, for that one I was just playing with the coronal layers before cleaning up the last little details. Quick side note: That Fed cruiser is scaled pretty small--it's only about 5 pixels long now, compared to a 1000 pixel diameter star sphere... I didn't change it's movement points at all from the first version, but the sweeping camera move and shake makes it verry different--the original version moves like Classic Trek. The current version moves like J.J. Abrahms Trek. But, since you came up with the Polar Warp trick making it easier to ring the entire star, i wanted to show the entire star. I just need to rescale my fractal nose layers and adjust the rim glow and tone down some grade layers and it will clean up--although i don't want the super-dark look Axel and Andrew Kramer went for--I don't have that much ND on my "lens." ;-)The muzzle test--There's a link to this thread: http://community.hit...ilm/#entry42260 in that post. Another user was asking if it was possible to create Muzzle Flash in Hitfilm "From Scratch." For whatever personal reason, he doesn't want to use the Gunfire effect. He'd posted an after effects tutorial as an example of more the style he wanted to do, so I whipped up a quick side/by side demo for him and uploaded a project file just to demonstrate that the After Effects tutorial he was looking at did "translate" to Hitfilm.Silly me, the tutorial he linked builds off Fractal Noise, but he's on Express and I did mine in Ultimate--the same technique should work with generated Clouds (Which is basically a cut-down fractal noise), although with a couple extra steps.I grabbed footage off a Video Co-pilot tutorial, actually (#26--simulating blowback). It was 4am, and I didn't feel like shooting a "pew-pew" shot of myself. ;-)Just trying to help another user learn something. :-)Tonight's been interesting--I'm doing an opening logo for some spring concerts, and I got a brief about flowers and fields and cartoon bees, so I'm doing my first animation in Hitfilm with "puppet rigged" 2D sprites. (Well, ok, I lie--My "Halloween Hootenanny logo" used a quick 25.D puppet rig to open the door on the house facade.) I Created a blade of grass, gave it some animation and used a particle sim to create a field of waving grass which looks pretty cool.. Some simple vector shapes drawn directly in Hitfilm as BG layers, and atomic particles to get the swarm of bees to form the logo. Oddly enough it looks best if I use 3D lights to illuminate ONLY the grass field particles. Give them show shading and depth and makes the rest of the simple, gradient shaded, art really pop. sim. NOT my usual style, therefore, fun!Right now rendering out test elements to get design approval from the producer before doing the final animations.
I like my cute lil' bees.
I'm giving you a 'like' purely for that sentence.
Like it! The volumetric light rays effect on the ship seems a little strong, though - I'm not sure it'd black out the light quite so strongly.Otherwise, though, it's a lovely shot. Lighting on the ship at the start is great, too.
How did I miss the bees? Those are the cutest, friendliest bees I've ever seen! Great job!They didn't give me nightmarish flashbacks to when I was a kid and got stung on the ear.The space station surprised me. Didn't expect to see it!
Ok, so: the brief was a cartoon field, flowers, bees and pushing in and out of flowers as transitions.This is not in my normal style, so this was kind of fun....And, of course, I score bees with for the Youtube version with... Rossini's "The Thieving Magpie." Not Rimskykorsaova's "Flight of the Bumblebee." Because that's too easy...http://youtu.be/4yALWavYXyg
How did you create all those blades of grass?How did you animate all of those bees???? they weren't even quite billboarded however they all we sort of turned to the camera.... How did you do that?
Ok, so, for the grass, I drew a single blade in photoshop on a transparent background and saved as a PNG. In Hitfilm I put this blade in a composite shot, moved the anchor point to the bottom of the blade, then keyframed some Z-rotation. I embedded this composite in my main comp and used it as a texture source for a particle sim. I created a quad emitter, rotated and shifted it into position where I put my ground plane, and spawned the entire field as a single particle sim. I used time shift so that particles spawned for about 2 seconds before the shot began so the texture animation would offset. Obviously, the grass particles have a speed of 0.The bees were also drawn in photoshop. Each body and each wing was exported as a separate PNG file. In Hitfilm, I loaded each body and it's wings into individual composite shots, adjusted the anchor points for the wings and animated the flaps. in this case the bee sections were made into 3D planes. The front wing was moved 1 pixel closer to the camera, the rear wing moved one pixel away from the camera. Wing flap are actually animated in 3D--the wings rotate on multiple axes. This comps were embedded into the main comp, and, again, assigned as texture source layers for particle sims. The bees spawn from cube emitters set off camera. The emitters were set to cone trajectories, which were adjusted so that the bees flew in the desired direction.Billboarding the bees didn't work so well, since the bees were "slewing" as the camera did it's z-rotation, so I turned billboarding off. I also turned off "Align to Motion." It just happened to work out that the bees were basically facing the wrong direction, and, since everything is flat artwork, anyway, we decided we liked how one could see the flatness of the bees as the camera rotated. But I basically got lucky with the bee orientation.So, basically, it's using the Particle Clone technique from Simon Jones's tutorial, but I cloned bees and grass instead of people.Oh, the flowers were also drawn in photoshop and exported as PNG files. They are 3D layer placed directly in the main comp--but Hitfilm's 3D compositing space meant that the grass and bees just wrapped around correctly. Again, I moved the anchor point to the bottom of the flower and keyframed some Z-rotation. Once I keyframed the first Flower, I just cut and pasted random keyframes to the other flowers so they didn't all move the same way. The Sun graphic was drawn as a circle element and ray element in photoshop, put in a composite to duplicate and position the rays and animate the rotation--the sun was embedded into the main comp as a 3D plane and positioned.The clouds were drawn directly in hitfilm--a plane with a slight gradient was created, and several overlapping circle masks were drawn. The clouds were brought into the main comp as a 3D plane and positioned. There are only two clouds--the rest are scaled and/or flipped duplicates spread out in 3D space.The background hills and mountains were drawn in Hitfilm. Again, planes with gradients were set up and the simple shapes drawn with ask tools--again, 3D layers positioned in 3D space.The ground plane is just a big plane with some fractal noise, again, a 3D plane positioned in 3D space.So, basically, I just placed a bunch of 3D planes and a few particle emitters in space and let it go. Hitfilm's 3D compositing space meant I didn't really have to worry too much about occlusion issues. Although I noticed one bee "pops" right through a flower.... the day after I delivered the final animation to the client. Oh well. ;-)Once the environment was set up, I made several copies of that composite shot--one for each segment: The actual output for client had separate animations for "Opening Titles/Choir1," "Transition 1/2," "Transition 2/3," Transition 3/4," "Transition 4/5," and "Closing Credits v1" and "Closing Credits v2." Then I just moved my camera around. each copy. (If you look closely, you'll see that the position of the clouds actually keeps changing back and forth--there's no actual continuity of how the clouds flow across the sky, since I kept re-using the same 45 second environment comp for what ended up being 2 min and 45 second of animations.The version uploaded to Youtube is all the original segment edited together, crossfading between segments. For the actual show I created this for, we held for a second each time when the scree was filled by the yellow cores of the flowers. Circle wipes were used to transition between show scenes and animation segments.Think that covers it. :-)EDIT Of course the "Nature's Song" logo is a simple embedded comp with the title. I created the title in yellow, then modified a GRID effect to get the horizontal stripes. This was brought into the opening titles comp. A 3D point was created and used as the transform point for Atomic Particles. That's just keyframes of fractal dispersion/displacement as the 3D point moves across the environment.EDIT-EDIT: The bee with the banner is a copy of the "Side Bee" composite embedded in another composite. The banner was drawn in photoshop and imported into Hitfilm--a few layers of embedded comps are used because the text was done in Hitfilm (If I had put the text directly on the banner in photoshop, I could have saved a coupe of steps in hitfilm). Basically, there's a masked, embedded comp of some circular Radio Waves being used as a displacement map to get the banner to ripple. Once I had the bee and rippling banner set up correctly, that was brought into the main comp and set as a 3D layer. He's hand-animated to cross into and out of screen at the right time, which means he's the only thing that isn't procedurally animated.
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