A blank base layer creates an alpha (transparency) channel that FCP will use to superimpose the animation into existing video. NOTE: You could also leave this layer blank to key the animation into video in Final Cut if you choose. (Let’s not get hung up on accuracy here…) This is a photo I took of the Banff River which, ah, actually isn’t an inlet at all. Place into the bottom layer whatever image you want to fill the frame.Create a new Photoshop document that matches the frame size of your video project.NOTE: While I’m using Photoshop, these same steps apply to whatever image editing software you are using. Drop shadows are ignored by Final Cut as well. While the groups help in positioning elements in Photoshop, they are ignored when importing the graphic into Final Cut Pro. Then, just to show off, I added a drop shadow to the text and bundled the graphics into two groups. The final image created in Photoshop consists of seven layers. Then, the animation is created in Final Cut. The secret is that this entire image is created as a multi-layer graphic in Photoshop, or the image editing software of your choice. All images can be replaced by something more appropriate. Virtually any software that can edit video can create this effect. Best of all, this effect is NLE independent. Each blue bar can be animated separately at whatever speed is needed. The blue bars indicate the level of water inside an inlet vs. NOTE: Here’s a tutorial that explains how to do this in Adobe Premiere Pro. Multiple graphics? Chroma-key? Cell animation? All good alternatives, but it wasn’t until today that I could sit down at the computer to figure it out.Īt which point, a quote from Albert Einstein popped into my head: “Make things as simple as possible, but no simpler.” I realized the solution was easy if you thought about it as a problem of graphics, not video. Still, his question kept springing into my mind, along with multiple possible ways to solve it. I love challenges like this, but I was buried in other projects and couldn’t turn to it immediately. I don’t know how to animate such a thing.” I envisage showing two columns: one for outside and one for inside and show something representing water rising and falling within these columns. “I am making a video which illustrates the differences and rates at which the tide rises and falls outside a narrow inlet compared to what is happening inside that inlet. A week ago, Tony sent me an interesting puzzle:
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