Aaron Neitz
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After Effects Coin
Forum Replies Created
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I figured out part of the problem, but it gets worse:
apply Roughen Edges to Text, do not move that layer, pre-compose, apply move to pre-comp = no boiling edges
But I need to do a credit roll, so how can I accomplish this if my initial Text can’t be moved?
I can create an initial comp that’s 1920×20000 pixels and scroll that…. but then I need to severely alter AE’s memory cache so it can “allocate an image buffer” and render times per frame are about 30x higher than normal.
in an ideal world if the credits were LOCKED I would just render out a huge TGA file, import that, and scroll it. Easy. But credits are always changing till the last possible momement.
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sounds like you’re copy/pasting from a 23.98 sequence into 30fps…. or visa versa
EDIT: what Shane said
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that’s true – prores does have some eccentricities that need to be worked out. dvcpro is pretty tried and true
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ProRes is definitely not the problem. I’m curious why you would switch to DVCPRO? ProRes might be a little fatter datawise, but I find the full raster frame much easier to use when going out and back from after effects, etc….
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this is a problem we had on our SAN for a long time.
make sure you have a main project folder on the drive, say “Show 001” and make sure your capture scratch, audio render, and render scratch for that project is set to INSIDE this main folder.
If you have a “render files” at the root of the drive and have multiple people sharing the drive that’s when we were seeing render files go offline. It’s one little thing I’d love to have in FCP: a more forceful scratch disk dialogue – like AVID. Your project was always linked to a specific place… it’s all to easy to get lazy and end up with files all over your computer.
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honestly i haven’t worked with cinema tools and keycode lists in a few years…everybody just does timecode anymore. but i’m pretty sure you can build a new cinema tools database and hand enter the keycode so you can output lists. someone else will have to guide you on that.
Just a thought: if there’s not that much film and there’s some money sitting around (ha!) it might be simpler to get everything telecined to D5 or HdcamSR flat pass. Then you can overcut the whole shebang and do a tape-to-tape final color. Depends on the quality of the gig vs. where it will be shown vs. money available. It would probably take less time than trying to build logs and lists and hoping you get the right film transferred.
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Well 1st: how organized is the timecode on all these tapes vs. the lab rolls?
typically every lab roll gets a timecode hour assigned to it. lab roll 1 will be 01:00:00:00, lab roll 12 will be 12:00:00:00, etc… In this case you really don’t need edgecode because you can scan film based on timecode.
but if you’re getting dailies made from different labs at different times then lab rolls and timecode is probably all over the place.
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I’m with you.
Just bought a $20 idontconnect eSata card from Fry’s… Mac sees it, but drives don’t show up. No time for this nonsense or troubleshooting. Wants something that works.
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to make tom’s suggestion more specific: highlight the clip, go to Modify -> Alpha Type -> black
FCP assumes unpremultiplied.
Which, frankly, is annoying. Most CG and graphics are premultiplied.