This looked really good. I like it a whole lot! I might have animated the outline layers to move back in Z-space from zero rather than snap into existence by moving the layers. Take a look at the video linked below. It's one of my old FXhome guest tutorials, but there's a bunch of setup I do with a colored text and a colored outline that lets me set up multiple set mattes in a single embedded comp by using different color channels in the Set Matte. In the case of this tutorial it would allow you to collapse the fill and outline text into a single Comp. For a title someone would "one-and-done" this setup, but if I wanted to use this look as a lower third or repeated transition with different text, then I'm only changing text in one Comp instead of two. So sneaking different mattes into one layer by taking advantage of color channels is a technique I can see you finding a lot of use for. I've actually been able to pack at least four mattes into a single image this way - Red, Green, Blue and Alpha as a single matte. I think Yellow, Cyan and Magenta could work with two matte (by, say adding with a Green matte, then subtracting a Red matte, which separates the Yellow from pure green). My explanation in the FXhome tutorial isn't the best - I should have told the audience I was creating a multicolored matte to isolate with Set Matte at the beginning so people didn't wonder why the hell I was messing around with outlines! This is a base technique for a "LucasFilm logo" tutorial I'm pitching to FXhome. By burying multiple mattes into a multicolored image one base text Comp can be restyled into (almost) every version of the LucasFilm logo from the all-green to green with metallic fill to the "all silver metal" and "all gold metal" to the "silver and gold" metal. Once the multicolor matte original is created I can easily change out the different styles without having to tweak the original matte source comp... Although my LucasFilm logo is easier to do in Pro because of the Pro-exclusive "Distance Field" effect. I'd take a white plane, use the correct Matte Channel then use Distance Field to generate a gradient inside the text for a height map that Parallax, Caustics or Surface Studio. In Express it requires using Set Matte to isolate the fill, a blur to get the black/white gradient, then a second Set Matte to chop the blur outside the letters. The distance field looks better. ruclips.net/video/jDNhnAcH8lo/видео.html Anyways, this isometric animation looks really sweet and it's a simple build. Nice!
Woah! That is a great technique to use a single comp to change the outline and fill of a text layer. Absolutely brilliant. I also liked the starfield background you created at the end. Thanks for sharing.
@@MotionEpic Yeah. That one used black and white, but, as I said in the prior post, you can also use RGBA for four potential mattes. You see how the technique would simplify this isometric look into a "change one Comp and it updates." Feel free to steal the technique. I know you'll be able to use it for something. Should work in Resolve as well. The starfield? Had to look at the tutorial to see what I did (I have another tutorial that's just tons of ways to make starfields and HF 17 will add another in Pro). Several 2D card layers in 3D space is simple and old-school. Works, though. Good choice for Express with no add-ons. Odd thing. Several Beta testers submitted presets for HF 2017. Three of us did fractal noise starfields. I'm not sure if mine, tddavis' or Javert's is the one actually in the software, but I bet it's Javert's. Since he was the one who reviewed all the submitted presets, he probably sent his version on.
Hey man, love the videos! I have a question. Is it possible to track it to a point? So if the point moves the perspective of the 3d text will move too... If you get what I mean... Anyways keep it up bud!
This looked really good. I like it a whole lot!
I might have animated the outline layers to move back in Z-space from zero rather than snap into existence by moving the layers.
Take a look at the video linked below. It's one of my old FXhome guest tutorials, but there's a bunch of setup I do with a colored text and a colored outline that lets me set up multiple set mattes in a single embedded comp by using different color channels in the Set Matte. In the case of this tutorial it would allow you to collapse the fill and outline text into a single Comp. For a title someone would "one-and-done" this setup, but if I wanted to use this look as a lower third or repeated transition with different text, then I'm only changing text in one Comp instead of two.
So sneaking different mattes into one layer by taking advantage of color channels is a technique I can see you finding a lot of use for. I've actually been able to pack at least four mattes into a single image this way - Red, Green, Blue and Alpha as a single matte. I think Yellow, Cyan and Magenta could work with two matte (by, say adding with a Green matte, then subtracting a Red matte, which separates the Yellow from pure green). My explanation in the FXhome tutorial isn't the best - I should have told the audience I was creating a multicolored matte to isolate with Set Matte at the beginning so people didn't wonder why the hell I was messing around with outlines!
This is a base technique for a "LucasFilm logo" tutorial I'm pitching to FXhome. By burying multiple mattes into a multicolored image one base text Comp can be restyled into (almost) every version of the LucasFilm logo from the all-green to green with metallic fill to the "all silver metal" and "all gold metal" to the "silver and gold" metal. Once the multicolor matte original is created I can easily change out the different styles without having to tweak the original matte source comp...
Although my LucasFilm logo is easier to do in Pro because of the Pro-exclusive "Distance Field" effect. I'd take a white plane, use the correct Matte Channel then use Distance Field to generate a gradient inside the text for a height map that Parallax, Caustics or Surface Studio. In Express it requires using Set Matte to isolate the fill, a blur to get the black/white gradient, then a second Set Matte to chop the blur outside the letters. The distance field looks better.
ruclips.net/video/jDNhnAcH8lo/видео.html
Anyways, this isometric animation looks really sweet and it's a simple build. Nice!
Woah! That is a great technique to use a single comp to change the outline and fill of a text layer. Absolutely brilliant. I also liked the starfield background you created at the end. Thanks for sharing.
@@MotionEpic Yeah. That one used black and white, but, as I said in the prior post, you can also use RGBA for four potential mattes. You see how the technique would simplify this isometric look into a "change one Comp and it updates."
Feel free to steal the technique. I know you'll be able to use it for something. Should work in Resolve as well.
The starfield? Had to look at the tutorial to see what I did (I have another tutorial that's just tons of ways to make starfields and HF 17 will add another in Pro). Several 2D card layers in 3D space is simple and old-school. Works, though. Good choice for Express with no add-ons.
Odd thing. Several Beta testers submitted presets for HF 2017. Three of us did fractal noise starfields. I'm not sure if mine, tddavis' or Javert's is the one actually in the software, but I bet it's Javert's. Since he was the one who reviewed all the submitted presets, he probably sent his version on.
nice vid as always, and a good explanation of the set matte effect, it helps me to understand it better
Glad to hear it!
very good tutorial thank you keep up the good work!
Glad it helped!
Could we get a DaVinci Resolve Fusion tutorial on this? I really like it!
Good tutorial
Hey man, love the videos! I have a question. Is it possible to track it to a point? So if the point moves the perspective of the 3d text will move too... If you get what I mean... Anyways keep it up bud!
I'm not sure if that will be possible. That might require an actual 3D text and 3D camera tracking.
@@MotionEpic Alright thanks for replying, I was just curious if it was possible.
GOOD. Thanks.
Thank you too!
how do you end it?