[Andy Engelkemier]

The box that pops up when you choose “create a new composition” or Composition > New composition or Ctrl+N is exactly the same as what you get when you hit ctrl+K.

[Andy Engelkemier]

Most people I know just shoot what’s on the screen. They do that in most cases I’ve seen on TV. That’s usually the fastest way, and produces more realistic results. Tracking often creates a floating effect without a bunch of manual work unless ideal conditions are met.

You may have to dim the screen a bit, depending on what you’re going for. If that’s not particularly easy, you could apply a dry gel to it if you have any sitting around. It would just look like a screen protector so no one would notice.

Or, just add more light to your scene overall. Instead of shooting a phone in a dark room, shoot the phone in a dimly lit room, and darken it later. Basically use a similar technique to shooting a night shot in the day time. That would make the phone’s brightness not a problem.

[Andy Engelkemier]

Yeah, I think that’s the only way with the built in particle systems.
If you use effects like that often, it’s worth purchasing particular. It’s way faster, and you can shift when you start.
Of course, if it’s rare that you do projects like that, it’s not worth paying for something. I wish I had more uses for it. There are a small handful of times I could have benefit from it, but those don’t add up to 300 dollars. 😉

[Andy Engelkemier]

Oh my goodness, how long have Those been there without me knowing?

So glad I asked that question now. For the same thing, if I had to mask something and needed a shadow or something like that I was precomposing that layer first, then adding an effect.

Thank you!

edit:
I was hoping it was Slightly better than Photoshop, but it looks like it’s a straight tie over to Photoshop. You can’t reorder layers styles. Bummer. Too many times, in photoshop, I wanted to reorder, and even duplicate, a layer style.

[Andy Engelkemier]

I was looking for this, but I knew there was something I was missing. Although this post works, this might be a little better if it works for your use (I know this is old, but it might help people like myself find what they need):

https://www.motion-graphics-exchange.com/after-effects/Wiggle-rubber-bounce-throw-inertia-expressions/4ad0f32a944ad

The script stops analyzing all previous frames once the bounce stops.

Here’s the code (apply it directly to the layer you’re animation).
// Inertial Bounce (moves settle into place after bouncing around a little)
n = 0;
if (numKeys > 0){
n = nearestKey(time).index;
if (key(n).time > time){
n--;
}
}
if (n == 0){
t = 0;
}else{
t = time - key(n).time;
}

if (n > 0){
v = velocityAtTime(key(n).time - thisComp.frameDuration/10);
amp = .05;
freq = 4.0;
decay = 2.0;
value + v*amp*Math.sin(freq*t*2*Math.PI)/Math.exp(decay*t);
}else{
value;
}

[Andy Engelkemier]

Haha, I just tried it as well. I’m suppose to pull out clips from about 30 hours of video and I get no help other than, “the subject says ‘i give it a perfect ten'”
I would have loved to be able to search for the work perfect and actually find that.

I tried on one clip, and First, you can’t even do analyze on half the formats and it doesn’t tell you which formats it Does support. I can tell you it doesn’t work on the m2t files I was given (I think those were straight from the camera)

I got results close to 5-10% as well. Here’s a short snip of what I got, also you can’t cut and paste the text there? FTW?
” the road start while before you in a toaster did anything it’s that there’s anyone in Dawson is also an opportunity for a friend asked me questions so overall for your thoughts thak you you I think that it is doubly true in the future….”

It misses 2 out of every 3 words, and the words it Think it gets aren’t even close. “Dawson” I think was reasonable? I’m not sure why Dawson would be more common.

Anyone know of tricks to get this to work? It Would be useful, if it worked. But it doesn’t seem to work without some sort of special finesse or some magic.

[Andy Engelkemier]

That’s good to know. I think I might just buy a new external for each project like this. I had no idea the master files were Tons of videos. The last video I edited for them was simply splicing 2 longer videos into one 3-5 min comp. No big deal.
I usually do AE work and I start with animated image sequences along with motion graphics I create, so Premiere is a bit of a different workflow. Unfortunately all I learned in school was a Really basic timeline. We would take a couple hours of footage and create a 2 minute video in the end so workflow and what to do with files really didn’t make much of a difference.

I’m not doing any compositing here, so 1 non-raid drive should be fine since it’s only reading 1 file at a time. Speeds seem acceptable for now. Even with playing 3 1080p30 files at once in the timeline it’s hanging in there, and I probably won’t need to go past that.

[Andy Engelkemier]

cool, I didn’t know about that, but it doesn’t Quite look like what I want. If I delete the original the subclips don’t work. So although it makes it nicer that I can name all of my clips and organize them in a place that Isn’t the timeline (Very handy, thanks).
I’d rather my project not be 350GB (that’s what it currently is). It probably should be something more like 50GB.

So here’s a workflow I’m thinking for the next project:

Import ALL my videos from outside of the project. Create my clips. Right click each of them and convert to master files. Now I can remove the original videos and am left with copies of the individual clips…from what I understand.
Where does it store those clips? That could be part of the challenge.

I will be keeping all of the original footage, but I don’t want to back it up with the project when it’s complete. I only want to backup what is necessary for the project.

Any advice on that process? Creating subclips is definitely good. I didn’t realize that it put the clip back in the project panel. I’ll definitely be using that in All future projects. But I still have troubles collecting only what I need and leaving the larger videos behind (probably on their own external drive)

[Andy Engelkemier]

For the best quality you can allow Premiere to select the timeline for you on opening based on your content. This is handy if some of your content is SD, some is HDV, and some is AVCHD. You’ll want to use the AVCHD timeline in that case to keep the quality of the AVCHD content (the largest of that group).

(don’t include images in this method or your timeline might be huge)

Import all of your videos first. Now grab all of them and drag them to the New Timeline button. Premiere will automatically choose the highest quality timeline for you.

Now you can delete the content from that timeline and use it to make all of your final edits on. I sometimes create a copy of it while it’s blank just in case I need to nest a timeline later. That allows you to skip deleting everything again.

[Andy Engelkemier]

Very cool. Thanks for the examples to test out. That’s a great way to understand how things work. I’m sure that will help future readers as well.

The way 3dsMax “set states” works is it imports a null object for every object you’re asking to bring in. So it seems the array method works the best.