AE:Trailer: Difference between revisions

:::::::Yes, I've removed the raws. (Geyser and you can't use it, why keep it then?) --[[User:Paradox-01|Paradox-01]] 19:38, 14 August 2008 (CEST)

::::::Iritscen, the FRAPS codec is free, but also proprietary, so on PC you typically get it bundled with the FRAPS application. I don't know how your free Mac software is supposed to play it back. Yes, I use Taksi as a sensible substitute and no, I'm not quite happy with the results right now. The FRAPS recorder is very HDD-efficient, and for Taksi to perform nearly as well I need to find a good alternative codec first. I haven't yet tried to record FRAPS-like footage as a series of screenshots: the disk usage will be about the same (maybe even better than FRAPS once you ZIP the BMPs together or make a GIF), and lag will in theory be totally absent from the captured video, but if it lags too much, interactivity during the recording phase may be frustrating. I need to free up some disk space and do a test. --[[User:Geyser|geyser]] 19:21, 16 August 2008 (CEST)

::::::Dox, you shouldn't use an invisible midget in plain sight: use a few extra commands to place the (non-clipping) player character below the floor, and compensate by increasing the height of the camera target. Also, I would place the characters much closer to each other (not back-to-back-to-back, but almost: as if they were part of a tight circle of six) - then you can bring the camera closer to them and avoid some obstacles and walls (right now, even in the "glass hall" there's a console streaking across the foreground at some point, which is not good). Also, don't forget to adjust cm_canter_unarmed in parallel with cm_height and the FOV: you actually have total control of how the characters are framed and what gets in the way of the camera. In the case of the power room, for example, note that the four pillars are actually pairs of "stalactites" and "stalagmites", with large gaps in between, intermittently filled by the "power" particles. You can obviously take advantage of this by making the camera orbit higher, looking down at the characters through those gaps: that way, there will never be anything solid hiding the characters and the only thing in the foreground will be some cool-looking particles that will add to the "magical" effect. If you want to push this "magical" idea to the limit, you can place the shapeshifting characters ''in'' the gaps (maybe orbit about only one then), on the scanning bed in Kerr's lab, in Shinatama's chair, in place of Zombie Shinatama, etc... You can also give up the idea of orbiting around a static point, and instead do an orbiting close-up on a single character that shapeshifts as it runs down a corridor, performs a cutscene animation or a Trinity Kick or whatever. The possibilities are limitless. Back to the Omega Bunker, you've obviously picked the wrong center (half of the time you're showing Griffin's very dull office, and the walls are narrow so the camera indeed runs into them very easily) - obviously the characters need to be placed at the center of the bunker, with Shinatama's pod lowered (it can be rising during the take, to add some dynamics), but with the hologram particles active. The symmetry of the room suggests to use 4 characters rather than 3, and as for the animations, in this case it's better if the characters don't move around ''too'' much: taunts or "idle specials" (yawning) are fine; you can bring the camera much closer that way. You can, of course, make the shapeshifting characters travel in some direction, but then it's better if they stay grouped, e.g., if they're running together down a corridor/catwalk/bridge. --[[User:Geyser|geyser]] 19:21, 16 August 2008 (CEST)

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