Ben G unguren
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After Effects Coin
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COW Coins
Forum Replies Created
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Is the out-of-sync material in a constant offset? That is, if you slide the audio 10 frames to put it in sync, does it remain in sync? Or does it drift out of sync after a while?
In my experience, this tends to happen when sample rates are off, when drop-frame/non-drop-frame footage gets muddled, when the recording device has gone wonky, or when there is a bug in the codec or editing app. In your case, my guess is it’s one of the latter two.
I’d examine the source of the footage — have you tried importing footage from the same model but a different physical camera? Have you tried importing footage from a few months ago shot with the same camera (back when you weren’t getting these errors)? If you open old edits that weren’t experiencing these errors, do they still work properly? It would be helpful to identify if this is a system problem or if it’s an equipment problem….
Ben Unguren
Motion Graphics & Editing
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Sounds like the Live Update switch has been turned off (turn it back on!):
Ben Unguren
Motion Graphics & Editing
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One thing to keep in mind is that AME runs at 64-bit, whereas Compressor is 32-bit. While I prefer the options that Compressor has over the somewhat limited features of AME, the time it takes to compress in AME is almost a quarter as long. When I first started using AME, my jaw was dropping at how fast things went, as I was used to using Compressor.
Ben Unguren
Motion Graphics & Editing
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In Premiere, each audio track is of a certain sort — mono, dual mono, dual stereo, surround sound, etc. The type of audio that you’re putting on the track needs to match with the type of audio that the particular track expects. My guess is that you are putting a mono track into the timeline, and audio tracks 1-4 are all stereo, or vice versa….
You can modify how Premiere interprets the audio for a particular clip by right clicking it in the project window and choosing Modify–>Audio…. (or something like that). Note that as soon as a clip has been inserted into a timeline, you CANNOT change the audio type. You need to import the audio as a new clip, then interpret, then edit.
If you’re coming from FCP, this will feel a bit unusual for a while….
Ben Unguren
Motion Graphics & Editing
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You should start a new thread — it will get more views. Maybe take a look at Trapcode Lux:
https://www.redgiantsoftware.com/products/all/trapcode-lux/Ben Unguren
Motion Graphics & Editing
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Different bands do it differently, but most I’ve come across deal through the distributing label. That said, copyright can be a nightmare — there’s whoever wrote the lyrics, whoever performed it, the person who holds the license, and if it’s a cover song, then watch out…..
If the song you’re considering really is “popular” it’s probably going to cost A LOT. Most people find it more cost-effective to hire a composer to write a similar-but-not-close-enough-to-get-sued version. So that might be an option for you….
Oh, and I should mention that I’m not a lawyer and don’t understand anything, so please don’t come after me when the lawsuit comes… 🙂 Good luck!
Ben Unguren
Motion Graphics & Editing
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I thought “animatic” as well. But I’m also suspecting that this is an in-house term that the client has, and assumes everyone else understands it. (I hate it when they do that….)
Ben Unguren
Motion Graphics & Editing
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A clarification to Kevin’s method:
1. Take your entire comp and nest it in a new one.
2. Copy all your CAMERAS AND LIGHTS and paste them in the new comp. (You don’t have to disable them in the other comp — they’ll disappear soon enough)
3. Enable collapse transormations for the nested comp.
4. Only enable one of the cameras.I haven’t done this for a while, but I’m pretty sure that will give you the results you’re looking for. All you need to do is duplicate this meta-composition and enable a different camera each time. Queue it up and render ’em all!
(NOTE / DISCLAIMER: I know that nested cameras have NO influence on a comp with collapsed transformations enabled. I know that in previous versions of AE lights didn’t have influence, either. But I haven’t tried this lately. If things haven’t changed then the nested lights won’t actually illuminate anything, which is why you need to copy/paste the cameras AND lights.)
An alternate (less elegant) option is to make a new AE project file and import that other AE project a dozen times, each time enabling a different camera for the render comp. Queue ’em up and go!
Ben Unguren
Motion Graphics & Editing
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The general rule of thumb is that Mocha works great if your graphics are ATTACHED to an EXISTING surface (like a logo on the side of a building, or changing the words on a sign). If you’re trying to add something in 3D space (like graphics that “hover” around the building, and seem to actually be there), then you need a 3D solution.
Mocha and AE’s internal trackers give you 2D solutions. Mocha’s solutions are a bit more sophisticated, producing corner-point information that mimics 3D, but [this is key] it doesn’t produce a 3D camera.
Syntheyes and similar apps will give you an animated 3D camera as well as target points that simulate the world you’re tracking (target points for the ground, buildings, etc — whatever you’ve managed to track and can get a 3D “solution” for). This is A LOT more information than what Mocha or AE’s internal tracking can get you.
One other point: when the camera is only panning and tilting (not actually changing it’s own position) then a 2D solution can (sort of) mimick a 3D camera solution. So if all you’re doing is panning and tilting, then you could track that in Mocha, then use that data to animate objects (that are given perspective, for instance). You would be able to achieve a lot of the graphics in the video you linked to using that technique, as they’re using a lot of static cameras.
Ben Unguren
Motion Graphics & Editing
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If you want to give your AO pass transparency (and use that instead of the Multiply blend mode) then use the Shift Channels effect and set your Alpha to Luminosity.
A second option (which I prefer) is to take a master render, put it on the top of all the 3D renders, and set its blend mode to “Stencil Alpha” — this will cut everything out to match the alpha of the master render. (This could also be something like a diffuse render). Then you’d nest this comp in a new comp with the background plate, add shadows, etc….
Ben Unguren
Motion Graphics & Editing
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