[Bartek Skorupa]

That’s exactly what happens when I place a new pin. The initial position is set.
How about I’d like to correct this initial position?
I would like to be really precise. I would like to be able to set this position exactly at let’s say [200, 200].
Not at [200.012, 200.033]

I can of-course remove a pin, and add another one, but after 123,342,344,211,352 trials I am a bit tired.

Bartek Skorupa
Warszawa, Poland

[Bartek Skorupa]

In fact I did’t write much.

I did as follows:

1. Alt-click the position.
2. write down:
L=
3. pick whip to the “Layer1” name.
4. write down:
;
5. hit enter (return)
6. write down:
pin1=
7. pick whip to the position of the pin
8. write down:
;
9 hit enter
10. write down:
L.toComp(pin1)

I had no idea about what “blableeblablee” stuff will be written. I only new the principles of “toComp” thing.

Bartek Skorupa
Warszawa, Poland

[Bartek Skorupa]

Let’s say your layer with puppet tool is called “Layer1”
Let’s say that the absolute position of the other layer should be the same as the Puppet Pin 1 absolute position.

Place the following expression to the position of this other layer:

L=thisComp.layer(“Layer1”);
pin1=L.effect(“Puppet”).arap.mesh(“Mesh 1”).deform(“Puppet Pin 1”).position;
L.toComp(pin1)

voila

Bartek Skorupa
Warszawa, Poland

[Bartek Skorupa]

I face this problem a lot and here is how I deal with it:

1. Create your first set of comps
2. Save your project
3. Open a new project
4. Import your saved project 20 times.

The result is that you have 20 duplicates of the set of comps with all the links you need.

Bartek Skorupa
Warszawa, Poland

[Bartek Skorupa]

We are not that lucky. Premiere on mac can’t export mpg1.
The only way I found to make mpg1 on mac is to use apple’s compressor.
There are ways of changing default settings to do it really good. It requires changing a few files, but it works fine.

Bartek Skorupa
Warszawa, Poland

[Bartek Skorupa]

I would only change one thing. Instead of writting:

—————————
a=1/thisComp.frameDuration;
wiggle(a,0)
—————————

I would write:

—————————
value
—————————

Bartek Skorupa
Warszawa, Poland

[Bartek Skorupa]

I am using Premiere Pro, After Effects, Final Cut with BM and Avid with its MOJO.

Previewing in Premiere CS4 using BM:

Set the preferences of BM (In system Prefs) to show extended desktop on your video monitor. Restart mac. Launch Premiere and in the sequence menu select Sequence settings -> Playback settings -> set Realtime playback to your video monitor.

This is my workaround.

But – this solves only previewing issues and RED workflow (I use RED materials a lot now)

What about capturing from digibeta???????????
Unfortunatelly I have to work with PAL material also, and I don’t think it’ll change very quickly.

Now my workflow is as follows:

My editor captures and edits material using Avid and Mojo. He exports EDL.
I import EDL to PremierePro CS3 (yes… CS3) and batch capture the clips. Then I do my job in AE (CS3, or CS4, doesn’t matter).

But I keep asking: Why do I have to do it this way? Why do I have to have CS3? How about I have only one copy of CS3, but more machines? I have only one machine that is able to capture stuff from digibeta, despite I have 3 or 4 adobe bundles. This is driving me crazy. Is there any way to buy Premiere CS3???? Why do I have to ask such questions?

When will we celebrate the first anniversary of the problem???

By the way: BM and Premiere CS3 was and is not ideal. This I think has something to do with Premiere itself, not BM. I capture something, save project, open it again and my timecode is lost. All the clips start at 00:00:00:00

aaaaaaaaaaaaaaaaa!!!!!!!!!!!!

Bartek Skorupa
Warszawa, Poland

[Bartek Skorupa]

One use of collapse transformations could be as follows:

You have a comp containing several 3d layers. Nest this comp into main comp, and add a camera in the main comp.

Collapse transformations of the nested comp containing 3d layers.

Animate the camera. Watch the beauty of your creation 🙂

Voila.

Bartek Skorupa
Warszawa, Poland

[Bartek Skorupa]

I use IShowU. It’s not expensive, simple to use and gives good quality. You can record uncompressed QTs. I’d recommend this one.

Bartek Skorupa
Warszawa, Poland

[Bartek Skorupa]

I don’t know what boujou puts in your composition, because I didn’t use it, but I believe it places a camera and some reference layer, or layers right?

I would at first analise what I have, i.e. what is the position of my camera, what is the point of interest, do I have any null object as a parent, what is the position of the reference layers and so on.

Then if you turn any of your layers into 3D, you’ll have to check out if the position of it is anything close to the references created by boujou (assuming it creates any). You will certainly have to do some work to manualy position your layer. I can’t figure out in what situation you would have to scale your layer down to 5% to match the scene. Logically you would rather have to scale it up a lot, but who knows?

Let’s say that you have to scale something down to 5% to match, but want to have a better control over scaling. Why don’ you place some null onto the same position as your layer, parent the layer to this null, scale down the null a lot, and then tweak the scale of your layer. In this case you play with values close to 100%, which is easier.

Bartek Skorupa
Warszawa, Poland