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| We have a guy who swears by the app BRUSHES - I have only been on the receiving end of his work but have found it really easy to export at the biggest quicktime (at like a 2048x1536 resolution )and then slow it down in AE - the app doesn't give you control of the temporal aspects in the export option. http://www.brushesapp.com/ He's done some amazing stuff on it. mike o Subject: Re: [AE] OT: drawing recording From: Chris Zwar <chris@chriszwar.com> Date: Sun, 13 May 2012 20:34:22 +1000 Message-Id: <B8F3AB5B-3007-4A18-BC03-40721EA7E604@chriszwar.com> Hi, I've done a few of these, and I've done them both ways. Just a few = thoughts- If you record a 'real' artist then there will probably be a lot more = clean up work than you initially realise (or budget for). When filming, = you need to ensure that the paper is really flat and secured to a = surface so it doesn't move around AT ALL. Even tiny movements of the = paper, or ripples in the surface of paper that isn't flat, will be = really distracting when sped up. There will be all sorts of shadows = (from the artist, their arm, and their pen/pencil) and random flickers = that you will end up having to clean up or remove. Many years ago I did = a simple corporate job which was just a calligraphy artist writing = various management phrases, but it turned into a complex compositing = task just to make it look like a simple video of a guy writing words = because so much clean up was required. The realism you get with this = approach though is noticeable - if you film someone live then the way in = which the image is built-up / revealled (ie. the way they draw) is = definitely more organic and natural. If you begin with existing finished artwork and use strokes to reveal = it, then it becomes a simple task to add a 'hand' that follows the = strokes as they're revealed. This is how I've done it on a few = projects: -Firstly photograph a hand holding a pen/pencil in all sorts of poses. = You might end up with 20 - 30 photos. Bring them into After Effects and = mask out the background, then sequence all of the photos in a precomp. -Set the anchor point of each photograph in the sequence to be the tip = of the pen/pencil, and then give all the photos the same position. This = effectively aligns all of the photos (ie. all of the different hands) = around the point where the pen/pencil touches the paper. -In you main composition, copy any masks/strokes used to reveal the = image to the position of the hand layer and stretch the keyframes out to = match the timing of the stroke effect. The position of the hand should = exactly match the position of the stroke as it reveal the image. Then = use time-remapping to switch between the different photos - you can even = use random values. There's actually a few seconds of a project that uses this technique on = my current but aging showreel - starting at 2:06: www.chriszwar.com The best reference I have seen for this type of video is the ad for V = Water: http://www.youtube.com/watch?v=3DAPEIUMKCWzc ...but the whole hand-drawing gag goes back to the "La Linea" series = that can be watched on You Tube, although it's they're not really = relevant if you don't have a character in the drawings. Cheers, |
