Ben G unguren
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A combination of one of the Threshold filters followed by the Tint or Tri-Color filters might work. You might also want to apply a Curves/Levels filter first.
Another useful filter for this sort of look is Colorama. It has a lot of options, but if you get to know how it works, you can create some really funky color combinations.
Ben Unguren
Motion Graphics & Editing
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You want to make it into a “Track Matte” — a quick google search yielded the following:
https://www.editorsguild.com/v2/magazine/Newsletter/MarApr03/tip_ae_track_mattes.html
https://help.adobe.com/en_US/AfterEffects/9.0/WS3878526689cb91655866c1103906c6dea-7cf9a.htmlBen Unguren
Motion Graphics & Editing
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Have you tried rendering to a different codec, like Animation? My guess is you’re rendering to something like PreRes, which can mess with your gamma….
Ben Unguren
Motion Graphics & Editing
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It actually works pretty easily as long as you know what you want from the beginning.
On some projects, I’ve actually XML’ed over to FCP, adjusted audio as I needed it, then XML’ed back to PPro. So I agree that a little more flexibility would be nice. But, at the same time, the way the two apps deal with audio in the timeline is pretty different. And there are some nice aspects to what PPro can do.
Ben Unguren
Motion Graphics & Editing
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Are you getting that error after a full computer restart as well?
Ben Unguren
Motion Graphics & Editing
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Did you install the RED codec with the installer? You can verify this by looking in Macintosh HD –> Library –> Quicktime. There you will find all your installed codecs. I believe the RED codec has either “RED” or “R3D” in the filename. if you don’t see that amongst the other codecs, go back to RED’s website and look specifically for codecs.
FWIW I’ve been using a lot of RED footage recently, in both Premiere and AE without problem (OS X 10.6). I’m not at that computer right now, but I’m happy to compare setting with you if the above doesn’t fix it.
Ben Unguren
Motion Graphics & Editing
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Did you right-click the clip in your project window and choose “Interpret Footage–>Audio”? (Or something like that.) I’m wondering if that takes you to a different set of options than what you already tried. There you can choose dual mono as the interpretation for the LR channels.
Note that once a clip has been put into a timeline this cannot be changed. For just-from-fcp folks, this is somewhat startling and unexpected. If you’re in this boat, import another instance of your clip and try it with the new clip.
Ben Unguren
Motion Graphics & Editing
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AME settings have to do with the codec, not the AVI or MOV container. While animation is a great codec, it does not work for editing. Either ask your editors what they prefer to use, or just go to Avid’s website, download and install the DNxHD codec, then reboot AME and you should be able to set up a preset with DNxHD. Send a link to your editors so they can download the DNxHD codec as well.
Obviously there are other options out there, but you need to make sure you have an editing codec, and not a RGB/motion-graphic codec. For hte most part, anything that says “422” will work well for editing. Most of the codecs people use for motion graphics and compositing do not work well for editing (Animation, PNG, PhotoJPEG, etc).
Ben Unguren
Motion Graphics & Editing
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I’d use a masked adjustment layer. The basic steps:
Create a solid that is a bit larger than your comp (or scale it up a bit, whatever works for you). Apply a mask that covers the edges of your new layer. Feather the edges of the mask, then reduce the mask expansion value until you have a nice, fuzzy edge to your solid (you’ll have to reposition the solid to see these fuzzy edges, which is fine).
Then turn it into an adjustment layer by clicking the half-circle switch for the layer (near the motion-blur switch, the 3D switch, etc). The layer becomes invisible — now whatever layers find themselves underneath the adjustment layer will receive whatever effects you are applying to the adjustment layer.
Apply the Tint effect to the adjustment layer. Move the adjustment layer around the screen and you’ll see that whatever parts are under the adjustment layer will go black and white. (Note that they have to be under the adjustment layer, so it will need to be near the top of the pile….)
Finally, you can animate your adjustment layer to move from off-screen to on-screen, creating the color-to-bw look you were describing. Hope this helps!
Ben Unguren
Motion Graphics & Editing
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Try Avid’s DNxHD codec. It’s free from their website, can deliver excellent quality, and was designed specifically for editing.
And when you export your files, if possible use Quicktime so you end up with a .mov ending. FCP was made for .mov files.
Ben Unguren
Motion Graphics & Editing
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