-An object in 3D Space needs something in order to create color. Now either the object itself needs to have color, but more likely with a 3D environment, you need to remember that color is often what's reflected, so we need to create something in the environment so the 3D object can pick up on colors. To do this, we're going to import some footage and set it to be the environment that the object exists in.
Using shy layers to simplify the timeline
As your timeline starts to fill up, you might want to get rid of some layers.Not permanently, but rather hide them from view. Let's say, for example, we know that these blood cells don't need to be animated, and this locked layer, as well. So, I can minimize these. What I'm doing is clicking on this small icon,which is based on the historical Kilroy icon. It's a little guy peeping over a wall. This means that you can hide objects that you don't need to change.
Maybe the solids for the background, and some of the graphic elements.Well, I'd like to see the text. Now, in the normal timeline, it's very difficult to see those text layers side by side. I'd have to keep scrolling up and down in the timeline. But, by marking some of the layers as shy, I can click the icon up here to hide shy layers. And you'll notice that the little guy peeping over the wall goes and hides. And all those layers that were marked shy are going to be hidden from view.
Now, all of the elements are still in play. You'll notice that the numbers go one, 11, 14, and 15. That means that layers two through 10, and 12 and 13, were marked as shy. They still appear up here in the composition, and they'll still render. But, the ability to control what's displayed in the timeline's quite useful. And then, if needed, you can click that button again, and all the shy layers are made visible.
The use of the shy switch can make it much easier to control a cluttered timeline.
A while back, I had an in-depth conversation with my friend Jim Tierney who's the founder of Digital Anarchy. We talked about the challenges of getting good looking green screen shots. Often things just look pasted together.
Enter The Light Wrap Fantastic
"Creating convincing green/blue screen composites has always been a challenge. The Light Wrap Fantastic enables better composites by easily allowing users to blend the background with the foreground in such a way that it appears the light of the background is affecting the foreground. The plugin has all the controls you need to create a realistic light wrap making it a quick and easy process."
The Light Wrap Fantastic 1.0 runs in Adobe After Effects, Adobe Premiere Pro, and Apple Final Cut Pro X.
Features of The Light Wrap Fantastic:
- Easy compositing of green/blue screen or masked images on a background
- Control every aspect of the light wrap within one plugin
- Fast Rendering using Your GPU
- Different modes for different workflows
- Use built-in masks to control where the light wrap appears
- Works with all keying software: Keylight, UltraKey, Ultimatte, Primatte and more.
- Standalone plugin, no need to buy an expensive package with tools you don't need
Here's my take on why it's so awesome.