Ben G unguren
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After Effects Coin
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COW Coins
Forum Replies Created
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Just got the same message today when upgrading! Open your Activity Monitor (in your Utilities folder) and find “dynamiclinkmanager” in the list of processes. Select it, and press the stop sign. When prompted, choose the “Force Quit” option.
I think the dynamiclinkmanager turns on whenever you start to run PPro or AE, etc — so it can keep track of when files are updated in their respective apps. A super-handy thing to have, but yes: a pain to shut off.
Ben Unguren
Motion Graphics & Editing
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You’re right that text animation plays out a little differently than what you’d expect when animating a layer’s position, rotation, or scale, etc. That’s because you’re taking keyframes and applying them to a range of characters. So you create a set of keyframes and then use another set of keyframes to determine how the first set is applied.
Have you looked around online. There are a lot of great tutorials out there made specifically to help people understand how keyframing & animating text in AE works….
Ben Unguren
Motion Graphics & Editing
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After effects can track a nested composition. So do all your levels/curves/etc and then precomp the layer, being sure to move everything into the precomp. Then motion track the precomp in the current comp.
Ben Unguren
Motion Graphics & Editing
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I suggest rendering at full-quality (animation codec, e.g.) at the final output size, then use a compression-specific app to do the final step.
I have had trouble getting Compressor to scale things as nicely as AE, though there are a number of settings you can fiddle with. I’ve also found that if you appply a timecode-overlay filter, then change the opacity so it isn’t visible… this [somehow] improves the scaling capacity of Compressor dramatically.
I have always been pleased at how AME scales footage, however.
Ben Unguren
Motion Graphics & Editing
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Try Avid’s DNxHD for editing (it’s free): https://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=372311
MPEG2 is terrible for editing, and was created as a delivery format. DNxHD was designed for editing.
Ben Unguren
Motion Graphics & Editing
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[Jon Barrie] “by the time you’ve done all this Preparation I’d have finished the edit”
Jon makes a good point. For shorter pieces, you might just cut the unsynced footage and match up the few parts where you needed synchronized audio. But if you’re editing something longer, like a television episode or feature-length documentary (where you might have a hundred hours of footage), the synchronizing-and-exporting process, while more time-consuming in the short run, will save you countless hours in the long run.
Back when we shot on film more frequently, everything went through this sort of synchronization-and-transfer process. With sync-in-cam devices, that went away. With the arrival of DSLR video, syncing is back! (At least for a while….)
Ben Unguren
Motion Graphics & Editing
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The Quick Selection tool in Photoshop (next to the wand tool) does this. Hold the option key while “painting” the selection to remove from selected areas.
Ben Unguren
Motion Graphics & Editing
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Transcoding is a great idea IMO. Even though PPro can edit DSLR footage, it still requires more processing resources to do so. Transcoding to ProRes422 or Avid’s DNxHD codec (you need FCP to encode to the first one, the second can be downloaded for free) will speed up the editing side of things.
Synchronize your footage with your audio, using a different timeline for each “clip.” Export your timeline via Adobe Media Encoder with the ProRes422, DNxHD, or whatever hi-quality editing-ready codec you would like to use.
If you’re syncing your audio up-front this doesn’t require much extra time (it will require more hard-drive space, however). And in the long-term it definitely helps in the organization of your media files, especially if you ever end up switching platforms or editing applications.
Ben Unguren
Motion Graphics & Editing
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Is your 3D tracking export for the stabilized footage or for the non-stabilized?
A typical workflow is to stabilize in Syntheyes, then export the stabilized video as a self-contained movie. In the same pass, you generate your 3D solution from the stabilized footage. These two pieces — the 3D data, the stabilized-footage export — go into Maya, go into AE, etc.
It sounds to me like you are trying to perform the stabilization in AE (using 2D trackers from syntheyes) and make that match a 3D motion track in Syntheyes. I’ve never tried that, so I can’t say for sure, but it certainly feels unusual, and considering that syntheyes uses different methods from AE to stabilize, it’s unlikely to work.
An alternate workflow would be to track the non-stabilized footage, but send the 2D trackers to AE. Then in AE (or Maya, etc) you would match all your 3D imagery to the non-stabilized footage, then nest that in a new AE comp and average the 2D tracker info into the anchor point data, effectively creating a stabilized image. I can’t think of a situation where this would be the better way to go, but if that’s what you’re going for… go for it!
Ben Unguren
Motion Graphics & Editing
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I tell people that a QT reference movie has a shelf life of about one day. So if you’re going to move it into a self-contained QT immediately, then use it. Otherwise, create a contained file.
Of course that isn’t actually true, but if you treat it that way, then you’re not going to end up with those terrible errors that happen when files start disappearing.
Ben Unguren
Motion Graphics & Editing
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