[Antony Dupsta]

Thanks for your response.
Yes we use RE:Map
The only problem is that the edges get stretched with this plugin.
For example: if you have an STMap that is 2048×1080
You place this on your footage that is 2048×1080.
40 pixels around the image is stretched when using this plug in. Pixel stretching.

[Antony Dupsta]

2020 still looking for an answer.

[Antony Dupsta]

I may have figured this out with a little more trial and error.

this.omLSelDflt = 0;
change this to the module number that reflects your needs. In my case 1 which is the second module.( Adobe uses 0 as the first, all numbers are offset by -1. 0=1, 1=2, ect)

this.parLstChoices = ‘[“Anamorphic 2:1 (2)”‘;
This should allow the script to default to 2:1 instead of 1:1. As you can see I took away all the other choices forcing it to anamorphic.

search of these parameters in the code to track these down.

remember to use // in front of the original line to disable it if you want to reinstate the original code later down the road.

I will probably forget all this and want to know this in a few years from now. Future me says thanks in advance.

[Antony Dupsta]

“I note your Premiere Pro version is 2015 and After Effects is 2017. Perhaps, with all the under-the-hood changes happening…”

You can see in my original thread my specs:

PP 2017.1 v11
AE 2017 v 14.0.1.5
OSX 11.6
footage: HD proRes 422

You noted that I was using PP 2015 and things were not working. I don’t want readers to get the wrong info while they too troubleshoot, I think you just got your wires mixed up. Works fine from old version to new version. As I spelled out in the original post, the issue is from PP2017 to AE2017
Using PP 2017 and AE 2017 footage will not copy and paste back and forth as it has been able to do. I lost this in my nice little workflow…bummer.

[Antony Dupsta]

Yea that is what I was eluding to. I can’t copy paste footage nor can I import sequences. I realize that this is a feature that is possible, so I think for whatever reason, I have a bug or something. I posted this just encase others also experience this issue.

[Antony Dupsta]

Update…
I can confirm that the versions are fine and that other users can copy and paste. So not a version issue. Seems that it is just my system?
I opened up PP2015 copied footage in the timeline and they all copied into my AE 2017 comp. So something maybe wrong with my PP2017?

The one bread crumb here…I also tried to import the PP project from within AE. Some of the projects import, but sometimes I receive a dialog box saying…After Effects: AEGP Plugin PP import: Can’t Load PP project, the version number or the file is corrupt (5027::12)

Keep in mind this only happens with a few project files. I have tried coping footage into new projects, tried importing new projects, not sure what’s up?

[Antony Dupsta]

Wow that was brilliant.

Looks likes like the clip names are all there for all the comps. And through bacthProcessor I can add some animation presets to get the frame counter going, I will even throw a LUT in there.

This is really nice automation building dailies/proxies for a small project like this.
Thank you for your time and help, much appreciated.

I owe you

[Antony Dupsta]

Hi Dan,
Thanks for your help. This is really getting close to what I am after. The expression withing the script will now overlay over the clip as a window burn…
However, maybe I am doing something wrong.
Just one comp out of the hundreds gets the clip name applied.
I would have to run this script for each comp individually.

Maybe is has something to do with active comp or active comp layers?
Could that be why only one comp get this expression applied and no others?

[Antony Dupsta]

Thanks for reading,

Request sent.

I would be willing to bake timecode into our images seq. I use to do this with DPX headers but DPX format is not used much more as EXRs have taken over. What format are you using that AE is reading your timecode header metadata within your image sequence?
Thanks for chiming in with ideas.

[Antony Dupsta]

Please do try this yourself. Import three image sequences all with diff resolutions all with diff start frame numbers. 401, 801, 1487235. All diff resolutions.
Try these two ways to make a comp, at some point you have to enter in either your Start Frame (command K) or as you suggested, you can save the start frame by default but than you have to change the resolution as it no longer matches the sequence’s resolution.

I am proposing the ability for After Effects, in the year 2016, to have the ability to create a new comp that passes along those attributes of the image sequence into the comp. So by dragging the image sequence down to “make new comp” you get your 100 frame Comp, at proper reslution using the proper starting frame of 401.
Think of your typical Color grading systems, compositing packages, match moving programs, mocha, and all 3D packages. No of them default to a start frame of zero requiring you to reset this. The apps will gleefully set your first frame based on your image seq.

Imagine needing to go into 50 AE comps to change out the start frame one at a time because it starts on a zero frame by mistake?

Has anyone had to tell a client to go to frame one, which is actually the second frame because my software counts zero as one?

Thanks for reading!