Ruby Tuesday Ad Online
Sunday, June 4, 2006 at 10:47PM The commercial I directed for Ruby Tuesday, the one that features four tiny Mini Coopers, is finally online:
The Great Race (direct from rubytuesday.com)
Would you beleive that the single largest source of traffic to this blog is this thread on motoringfile.com, a Mini Cooper news and info site? I'm sure more than one Mini fan has scratched his head at some of the articles here, but rest assured you have found the home of one of your own—the 2005 Cooper S used for the interior shots in the commercial belongs to my wife, and yes, she occasionally lets me drive it!
For those who missed it, here's the article about the automatic animation system I rigged up in After Effects to enable rapid tweaking of my animatic for the spot, and here's the article on fxguide where you can see some frame grabs.
Reader Comments (10)
OT, Hi Stu I just tried to load elin into After Effects 7 and when I try to use it I get a message that says "eLinHub not loaded". Does eLin not work in AE7?
Any help would be greatly appreciated
Pete
That's right Pete, eLin is not supported in 7.0, as it's no longer necesary. I realize it might be nice to be able to load up old projects though so we may update it someday for pure legacy reasons.
I tried doing a couple of 32 bit comps with the setup you explained on fxguide and I found it considerably more sluggish than using elin in AE 6.5, in particular RAM previews weren't playing back real time like I am used to in 6.5 so that's why I was hoping elin might be available in AE7. Damn, just as I was starting to get my head around it.
Give me super whites or give me death
Thanks for all you great work!
Pete
PS: have you put 32 bit AE comping through its paces in production yet?
Yep, float is lots more data and can make AE bog. And yes, we've run several shows through an all-float pipeline in AE, including that Mini's spot (which was finished HD) and a couple big feature films.
Stu,
In an earlier post you mentioned that one of AE 7.0's cool new features was the ability to help video more resemble film. I was wondering if you could elaborate and explain the advantage that 7 has in this area over 6.5. Is it quite simple the ability to comp in float with the linear color space support? Thanks.
Awesome ad Stu! I would love to see a full res version I could scrub through frame by frame. The camera moves were quite incredible.
Hi Stu,
I've just tried a few things in AE 7 to compare its new 32bit mode and the Elin demo. If you do a radial blur in 32bit, it just looks that same as a blur in 8 or 16 bit. However, when sandwiched between the elin in/out the lighter colours override the darker colours in the blur and seem more natural and more like motion blur. The same thing happens with Reelsmart Motion Blur when I output vectors for adding motion blur afterwards. I just get the impression that the AE7 32bit mode doesn't seem to be doing what Elin does automatically - making the lighter colours blur more realistically (and aesthetically more pleasing!) Is it something the plugins themselves aren't doing or is the 32bit mode not blending the colours properly?
Thanks, Jon
Hey Chris, how's it going? The technique for sing AE's film color management to make video look like a particular film stock is something I'm saving for my book!
Jon, there are a few differences between using eLin and simply switching an AE7 projet into 32bpc. First, eLin forced you into using a linear color space. Switching into 32bpc mode doesn't do this -- you must chose a method of converting to linear, which could include using the linear working profiles I posted here. Second thing is that eLin made any 16bpc effect, such as Radial Blur, into a pseudo-HDR effect, but 32bpc mode doesn't do this. You'll need to use the linked compander effects (a preset ships with AE7) to make the 16bpc effects work on real HDR pixels.
ruby tuesday link broken.