Ben G unguren
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After Effects Coin
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COW Coins
Forum Replies Created
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Add a couple Slider Control effects to your wiggling layer. Name one “Frequency” and the other “Amplitude”. Give them the initial values you were using in the wiggle expression. Change your wiggle expression to this:
wiggle(effect(“Frequency”)(“Slider”),effect(“Amplitude”)(“Slider”))
You can easily build that expression with the pick whip….
Then all you have to do is keyframe your Amplitude from, say, 50 to 0 and the thing will stop shaking. (I also use a frequency slider because it’s quicker to change the parameters, especially when I’m using more than one layer with wiggle on it).Ben Unguren
Motion Graphics & Editing
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This isn’t ganging exactly, but in Premiere you can create “submix” tracks — a feature more common in audio editing programs like ProTools. In your audio mixer you can send each audio track to the submix, and then you can use the fader on the submix to change the volume of everything passing through. You can also apply filters to submixes. For instance, when I have interviews with three people going in the same scene, I will give each person their own track so I can apply EQ and levels for that track that is specific to that voice’s needs, but then I send all three tracks into a “Voice” submix, where I will apply some dynamics (like a noise gate) as well as a little reverb to give it some room tone.
Ben Unguren
Motion Graphics & Editing
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When doing any kind of fancy compression (such as for a DVD or BluRay) the general rule of thumb is to render out a high-quality video first, and then do your compression (in Apple Compressor, Sorenson Squeeze, Apple Media Encoder, etc); while AE can be used for compression, in most cases it won’t produce results as good as an app dedicated to compression will.
Another reason for rendering out a high-quality out of AE is because of what you experienced: the compression didn’t meet your expectations. This means you have to re-encode; however, now you also have to re-render, and you lose a lot of time.
As a footnote, professional DVD authoring programs keep the video and audio separate, so it did the right thing….
Ben Unguren
Motion Graphics & Editing
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You can use “value_at_time” but instead of entering a specific value, you link to the time-remapped value of your time-remapped layer. Something along these lines (apply this to a value that has been keyframed to match the pre-time-remapped footage):
value_at_time(thisComp.layer(“my layer”).timeRemap)
Note that if both your items don’t begin at 0, you’ll need to add an offset to the time remap (I’d probably link it to an expression control slider, then slide it back and forth until it matched up. Lazy? Inefficient? Perhaps.)
Ben Unguren
Motion Graphics & Editing
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Your setup is 1440×1080 with non-square (1.33) pixels. This squished image is appropriate for a number of HD formats — but they “unsquish” the image before showing it on the monitor. If this is the correct setup (make sure it is!) then you can simply go into your comp’s View Options and tick the “Pixel Aspect Ratio Correction” box.
If you want literal 16:9 you’d set your comp to be 1920×1080 and the Pixel Aspect ratio would be “square” or 1.0. This is my preferred way to do it. When it’s time to render, if I need to deliver 1440×1080, 1.33, then I set up that comp, nest it, Cmd+Opt+F (Ctrl+Alt+F) to fit to screen, then render away.
Ben Unguren
Motion Graphics & Editing
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Yup. I have two monitors with different vertical resolutions.
Ben Unguren
Motion Graphics & Editing
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1: Reduce the frame size (from 1920×1080 to 1280×720, from 1280×720 to 480×360, etc). Reduce the frame rate (from 24fps to 18fps, to 12fps). If you cut the fps in half you can expect a similar compression level when you cut the bitrate in half. Another option for reducing artifacts is to “soften” your text a bit. Instead of white on black, try 75% gray on black, and blur it just a little. People won’t notice — in fact, I suspect they’ll think it looks more professional. And sometimes using lower contrast makes it easier to compress (this may be totally false, but I’ve found that extreme contrasts in color are where I see most compression artifacting).
Also, if you have audio, consider lowering the rate (32 at the lowest, probably) and compressing that as well, if you haven’t already.
2. You never mentioned which encoder you’re using, but if it’s AME you should be able to get acceptable results. Sorenson Squeeze has given me great results in the past — you’ll have to pay for that, though. In general I like AME’s results over what Apple Compressor gives me, but I’m not sure how they’re working differently, or if I simply have smarter presets in AME. AME, with its 64-bit architecture, is much faster.
Ben Unguren
Motion Graphics & Editing
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Edits are treated quite differently in Premiere than FCP. The main difference I’ve seen is that you can’t select an edit (as you could in FCP with the V key); you consequently can’t right-click on an edit. And that seems to have some limitations.
My process is to use page-up/page-down to jump to the edit I’m interested in then Cmd+D to apply the video transition and Cmd+Shift+D to apply the audio transitions. Only the active tracks will have the transition applied (and, incidentally, only the active tracks will work for the page-up/page-down hotkey, so it works out nicely). So if you had five active video tracks with an edit in the same spot, all five would have the transition applied with Cmd+D. I don’t think there’s a way to apply transitions en masse like you’re talking about. But I’ve only been at Premiere for a couple months, so maybe I’ve missed something there….
As for audio, you’ve probably figured out that Premiere requires your audio type (mono, stereo, or 5.1) to match that of the timeline. So if you’re inserting video with stereo audio into V1, but A1 is a mono track, then it will look to A2 instead, then A3, and so on until it finds a stereo track. If it can’t find one, it will create one. PLUS the track has to be active, I believe. Very different from how FCP does it, and a little more restrictive, I’d say. But you can also apply audio effects to entire tracks, which is pretty dang awesome. (You give a little, you take a little.)
Ben Unguren
Motion Graphics & Editing
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Not sure if elasticity will get you to where you want to go, but here’s some useful stuff on Dan Ebbert’s website:
https://www.motionscript.com/design-guide/elastic.htmlBen Unguren
Motion Graphics & Editing
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Hi Peter
There are some scripts out there that will do what you’re talking about. A quick search brought me to this one:
https://aescripts.com/rd_compsetter/
I imagine there are more out there if that doesn’t fit your needs. Good luck!Ben Unguren
Motion Graphics & Editing
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