Ben G unguren
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After Effects Coin
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COW Coins
Forum Replies Created
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If I’m understanding correctly, you need to render your images out of AE at 12.5fps (so you only have one image at a time, instead of two repeating images). Then reimport that, interpret the footage for 25fps, drop it into a comp, double the comp’s duration, apply Timewarp, set the speed to 50%, etc etc.
But the key, I think, is to pre-render the 12.5 fps movie.
Ben Unguren
Motion Graphics & Editing
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I imagine you’ve already been through the following, but just in case:
– Are your audio tracks active (hilighted)?
– Is your audio the correct kind (mono for mono, stereo for stereo, etc)?
– Do you have your source-thingamabob (the “A1” “A2” etc tabs on the left of the timeline) set for the correct audio track?Ben Unguren
Motion Graphics & Editing
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If you do the entire sequence at once, then your ability to do any editing in PPro is, in essence, eliminated. For that reason I like to export clips individually, but keep them all in the same AE file.
But if you’re sure your picture is locked (absolutely sure) then I can’t see a reason why you couldn’t take an entire sequence over in one shot.
Ben Unguren
Motion Graphics & Editing
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Try adding some noise to your gradient — that can help remove the banding w/your H264 movie files.
Ben Unguren
Motion Graphics & Editing
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Frame Blending is useful for “smoothing” the motion of a frame. It is frequently used when slowing down a clip, a quick way to create interim frames that are simple crossfades of the frame before and after it.
For speeding up clips, it can be useful to create motion blur sometimes. For instance, I once had some helicopter footage that had been shot at 72fps; it was flying over a mountain and the client wanted it to move much faster. By enabling frame blending, the movement of the trees and rocks was made blurry, which helped enhance the presumed “speed” of the helicopter’s movement. The client was over the moon at how I was able to make it blurry, since her in-house editor didn’t make that blur happen.
Ben Unguren
Motion Graphics & Editing
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Thank you Richard! I hadn’t noticed that filter before. cheers
Ben Unguren
Motion Graphics & Editing
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Not sure I entirely understand your setup for this, but you might want to try clicking the “collapse transformations” layer switch (the little sunshine icon) and see if that helps. If it’s precomped, you’ll want to turn on 3D for the bitmap image in the other composition….
Ben Unguren
Motion Graphics & Editing
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What you’re experiencing is “Frame blending”, not “motion blur.” That is, it is taking some of the hidden frames and fading them into each other. I think you can turn this off by right-clicking on the clip and disabling the check-mark next to “Frame Blending”… if I’m remembering correctly…
Ben Unguren
Motion Graphics & Editing
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A good method, regardless of which codec you use, is to choose a small part of your video and compress that part to see what it looks like. Ideally this will be a section with some camera movement and/or dissolves, as these are elements that can reveal flaws in specific codec settings. Then you can try multiple codecs and settings, and compare. I like to export, say, 30 seconds of a video, compare them side-by-side, then take the final file filesize and do the math to figure out the approximate size of the final video. Once I’ve settled on the settings, I apply it to the entire video.
Note that it isn’t just the codec that makes a difference, but the quality slider for the codec, whether you assign target bitrates, how you compress audio, the frame size and frame rate. These are all things you can play with — but be sure to keep a record of what you’re changing with each one!
One more note: YouTube compresses on its own. If you want youtube or vimeo-specific settings, I suggest you do some searching around. I know Vimeo has a page with suggested compression settings for uploading videos.
Ben Unguren
Motion Graphics & Editing
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The third approach works IF the footage isn’t being slowed down, but only sped up. The reason for this is because the tracked footage is kept in place with keyframes, which can interpolate halfway-between positions, whereas the base plate of images doesn’t have anything to interpolate:
With SLOWED IMAGE FRAMES, some of them will repeat:
1, 2, 2, 3, 4, 4, 5, 6, 6, 7, 8, 8With SLOWED KEYFRAME TRACKING DATA, there is interpolation:
1, 1.6, 2.3, 3, 3.6, 4.3, 5, 5.6, 6.3, 7, 7.6, 8.3We often don’t notice the jumpiness of the slowed image frames, but they will become terribly jittery if we superimpose a smooth-moving something-or-other on top of it:
1.0, 1.6, 2.3, 3.0, 3.6, 4.3, 5.0, 5.6
1.0, 2.0, 2.0, 3.0, 4.0, 4.0, 5.0, 6.0I’ve tried using TimeWarp to adjust the image, but there isn’t nearly enough precision in most cases to match things up properly. You could perhaps change all your tracking keyframes to hold keyframes, which would therefore refuse to interpolate and match the image, but then you’d lose any motion-blur capabilities.
If you’re only speeding up, then things should (should!) line up. The trick is getting the keyframes to match the remap. This is pretty straightforward, actually. Here’s how I do it:
Time Remap your base layer — let’s name it “MainPlate_Remapped”. If you have more than one instance of your base layer going (as a procedural matte, or maybe masking some foreground elements) then apply Time Remapping and use the pick whip to give it this expression:
thisComp.layer(“MainPlate_Remapped”).timeRemap)
Now it will correspond with your base remapped layer.
For anything else with motion-matching keyframes (which is probably most of the keyframes) you add the following expression:
value_at_time(thisComp.layer(“MainPlate_Remapped”).timeRemap)
This simple bit of code causes the layer to sample the keyframed values relative to where the time remapped layer is currently looking. So the movements should all match up. (This assumes all your clips start at 0 in the timeline. If they don’t you need to precomp things so they do, or add an offset value to your value_at_time expression.)
Once this is all set up you can slide the footage that’s being inserted around all you want, independent of the time remapping of the base footage and tracking keyframes.
Ben Unguren
Motion Graphics & Editing
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