[Al]

brilliant thanks todd – didn’t know about this! and will take your advice Dave, apologies for imminent cross posting

[Al]

wow no one really??

[Al]

Thanks for the reply!! To clarify:

> do my project settings need to be anything specific? my color settings are 32 bit (fl) + working space is set to none. also unticked are blend colours and match legacy.

> because my settings are as per above, does this mean i’m working in a linear space?

> i don’t have a monitor. will i be able to test if it’s worked just by applying the Log to Lin conversion?

thankx!

[Al]

hey dave,

sorry my fault, let’s rewind! i was talking about two seperate things, but looking from the second half of your post you see what i’m getting at.

yes, i work in a comp 1024×576 and when rendering, i put the output module to 720×576. i know this isn’t the common way of doing it, but to be honest i’ve been doing it for years and i’ve *never* had any issues with it (all broadcast)

i just can’t fathom working on my graphics in non-square pixel 720×576 comp and having the option of either a) viewing it crisp, but squashed or b) viewing it in the right aspect, but un-crisp.

that just doesn’t make sense to me!

so i’m going against the grain and working 1024×576 –> but until i see an issue myself i don’t see why not. you see, i’m the person who touches the kettle, then burns myself 🙂

SO i guess i’m wondering if i can work the same way with my NTSC project, and the answer looks like it’s going to be No, because it’s No to PAL – but looks like i might be trying anyway…?!

[Al]

hey dave, thanks for the reply.

i’ll be outputting targa seq only > so my plan was to work square pixel and then render 720×486. wasn’t going to pre-comp; do u think this is necessary? when i work with pal i just work square and render 720×576 without a hitch (?)

thanks for field tips too; need to check this!

[Al]

ahhh thanks for that. it’s been driving me bonkers today.

and dreaming about transfer modes?? ahahah! well having said that i remember when i was at SCT – going to bed thinking about a job, dreaming all night about what i was going to do, then waking up and being pissed off because now i had to start all over again… if only i slept with one hand on the keyboard… now charging clients when sleeping, that’s novel 🙂

i’ve heard things are super busy your end; best thing for the berra really though! especially as it’s getting chilly (we had an unheard of 17 degrees here yesterday! brilliant!)

and everyone is lady, lady. you just happen to be duff lady as it has a nice ring to it.

but maybe it’s about time people on the forum knew you are really a lady.

🙂

x

[Al]

and pray you don’t have people walking in front of the sign…

[Al]

why are you precomping your key? and if you need to precomp, why are you then bringing it into your main comp and using it as a track matte?

if you do need to precomp your keyed footage, you should just key it as you will, then bring that comp straight into your main comp – no need for track mattes as your keying will automatically provide you with an alpha…

[Al]

this should do the trick:

duplicate your layer. set the top one to Multiply (in your screens/modes tab). Animate opacity going from 0 to 100%. Lets say you have the 0% keyframe at 10secs and the 100% keyframe at 11 secs.

Precompose those two layers. At the 11 sec mark, place an opacity keyframe for 100%, then at 12 sec mark put it at 0%.

Even though it’s technically two stage dissolve, it looks like one, bringing down your levels to the highlights, then off completely.

[Al]

You can use a mask to achieve this effect.

ie. go to the point you want the person to ‘pop out’. Using the pen tool, draw a mask around that person. Stick a coloured solid or whatever you want the bg to be behind the person popping out. Then have your original layer below and animate opacity of the above layers to get effect.