Andrew Yoole
Forum Replies Created
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Your link doesn’t work
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Personally, I’d break the credits up into smaller chunks, probably 5000-10000 pixels vertically. You can parent the chunks to a null and move them as one if you wish.
Or, as the above post suggests, use text layers within AE. So much easier to edit!
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Do you have the “Continuously Rasterize” switch on for each AE layer?
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I can’t help but think you’re going about things the wrong way. Look Suite presets are simply combinations of effects used to replicate typical film looks (Bleach Bypass, Process Colour, Sepia etc). Rather than replicate an effect that is attempting to replicate a look, why not try and replicate the look?
What I mean is, find true examples of the REAL film looks you want, and try to replicate them. Rent Saving Private Ryan and analyse the Bleach Bypass look. Watch The Wizard Of Oz and try to match the rich look of Technicolor. You might find you can build series of effects that are even more accurate matches than Look Suite is capable of.
And of course. the other way to do this is just buy Magic Bullet. 🙂
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For the record, in the UK:
Clapper/Ident starts at 09:59:30:00
10 sec countdown starts at 09:59:50:00
Programme starts at 10:00:00:00Standard def output should be 720×576, 25 fps. Use the AE preset comps for Widescreen or standard pixel aspect ratios.
Standard PAL bars are recorded at 75%.
Audio tone on Digi Beta at -20dB.
But as mentioned above, just render the programme, then take it to a post house who will add the board & countdown for you on the way to tape.
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Consider lowering the shutter speed of the camera during the shoot. This will introduce the high motion-blur effect of over-cranking, without the speed change you would normally experience with film cameras. A shutter speed of 1/5 will give you 5 very-motion-blurred frames per second, which can easily be speed changd in AE if you require it.
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Not 100% sure of your requirements here, but if your source footage subjects don’t overlap, then Chris’ advice is true – just mask each layer to merge the pieces of footage.
If the subject will overlap itself within the shot, things get a little more complicated. You may be able to use a Difference key to seperate the subject. Otherwise, you will probably need to animate mask shapes (rotoscope) the subject on the uppermost shots – essentially cutting out the subject frame by frame in each layer.
To perform your move, you could manually animate the subject with position kayframes, with duplicate layers repeating the move. Or, check out the Offset filter to create a seamless movement from left to right which is repeatable.
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Note that Chris’ response assumes you are in the US.
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FCP is a NLE, AE is a motion graphics tool. Although their functions cross over, neither do a great job of what the other is designed for.
AE is leaps and bounds ahead of FCP in compositing quality. All motion graphics in FCP have noticeably lower quality anti-aliasing, edge artifacts etc. With the advent of 32 bit float etc, the quality of the two is not even comparable.
Motion blur in FCP is virtually unusable it is so bad, other than as a weird effect. AE motion blur is quite nice.
The text tool in FCP is also virtually unacceptable the quality is so poor. The Boris 3D text plugin is quite reasonable, but clumsy for constant use.
Animating movement with keyframes in FCP is a big pain. The keyframe and motion graph interface are very clumsy and fairly inaccurate. Whatever people think of AE’s graph editor, it’s certainly a huge step above those in FCP.
While FCP imports layered PSDs, it’s ability to manage them when they change is poor – FCP gets very confused when a PSD changes after import. AE does not, it accepts any changes without significant problem.
This isn’t meant to be an attack on FCP. FCP is a GREAT NLE, and it’s compositing tools are actually pretty good for an NLE. But they are no substitute for a purpose-built specialised app like AE.
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Make sure the “Live Update” button is on in top-left of the timeline window