Ben G unguren
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After Effects Coin
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COW Coins
Forum Replies Created
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[Alan Stephens] “PrPro or media encoder doesn’t seem to suport quicktime HD.”
Hi Alan,
This phrase doesn’t make sense. What do you mean by “quicktime HD”? If you mean quicktime movies that are 1920×1080, they totally support it. I’ve exported hundreds and hundreds of QT HD movies, to a variety of codecs, including ProRes, without problem.
I was reading your previous post, and it feels like you’re getting frustrated with PPRO and AME and are consequently drawing some hasty conclusions. I teach editing to college kids (mostly FCP) and when they say things like “this just doesn’t support HD”, that’s usually an indicator that something’s gone off-kilter (typically user-error related) and they simply missed it. I’m thinking that there are a few possible problems here:
1. Your source files are off-kilter. Maybe they are anamorphic but aren’t being interpreted correctly. Or something.
2. Your timeline is off-kilter. Maybe it isn’t square HD. Maybe your clips aren’t being interpreted correctly inside the timeline — maybe it isn’t being viewed properly, and so you aren’t noticing any of this.
3. [this is my suspicion] Your export settings are off-kilter. You’re using a preset, and you haven’t gone over all the customizable settings within the preset, or perhaps you don’t know what to look for. Maybe the output is non-square when it should be square, for instance.
Another possibility is that QT Player’s “info” window isn’t showing the correct data. This is a problem that creeps up with videos exported from lots of programs (including FCP) — it’s supposed to be 1920×1080 but QT tells you it’s something else. And you open it in AE or grab a still for PS, and everything matches up — only QT can’t get things straight.
Anyways, there are a few rambling possibilities. Don’t discard the Adobe stuff just yet — I’m coming from FCP-land myself, and I find this stuff has a lot to offer.
Ben Unguren
Motion Graphics & Editing
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Here are some possible issues:
1. Going from h264 to H264 ain’t working. Try encoding to a higher quality codec, like prores or animation or photojpeg. See if it will do it any faster (just do a 15-second clip or something). See if the encode time differs much.
2. Data transfers are slow. Could be you are working off a thumb drive, or right off the sd card you shot with, or perhaps exporting to a thumb drive or sd card. Terrible ideas, all! Or it might just be a slower USB drive, and you are reading AND writing to it.
3. Memory management. Have you fiddled with the memory settings in the prefs? Maybe you should fiddle some more, or perhaps UN-fiddle them….
4. Memory sharing. You have a dozen othernappsnrunning, and there isn’t enough memory for ppro to do its thing….If it were me, something else I would explore is converting all the source h264 to a different codec, like prores or dnxhd. I know ppro can work with h264 in real-time, but it is a lot more taxing on the system than if you were using a standard editing codec.
Ben Unguren
Motion Graphics & Editing
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Make sure qt is installed on your pc, which will put a lot of your listed codecs on your pc if they aren’t there already.. I suggest MPEG Streamclip as an excellent free app for transcoding. Adobe Media Encoder is terrific if you have it….
Ben Unguren
Motion Graphics & Editing
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Richard, the files are alphabetized in your project window, but if you open the composition that was created when you imported the photoshop file (I am assuming you opened it as a composition rather than as footage), you will find that your files are all in their proper photoshop place. Hope that helps!
Ben Unguren
Motion Graphics & Editing
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When the camera is on a tripod and there isn’t any zooming, you’re looking for a relatively basic 2D solution (lens distortion can cause some troubles with this sort of thing, but set that aside for now…). What you did works, but you could have just parented the wall as well.
A camera solution is sometimes better when you have a lot of 3D layers that you want to put in your scene (you could also just parent all of them to the null, however).
At any rate, you were smart to keep the camera on a tripod! Especially when you’re using Mocha to solve!
Ben Unguren
Motion Graphics & Editing
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Make sure the Output Module in your render queue (probably set to Lossless) has audio enabled (click on Lossless, in the box that opens, check the Audio box)
Ben Unguren
Motion Graphics & Editing
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I usually recommend MPEG Streamclip for converting files of various formats into something more consistent. Also free…
Ben Unguren
Motion Graphics & Editing
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One thing to keep in mind is that this is NOT a graph of the position values of your ball, rather it is a graph of the velocity values of your ball, or a graph of how the position of the ball is changing. Were you to have XY combined, this would be, in essence, the speedometer for the ball — if the values are up high, then the ball is moving fast. So at the moment when the ball hits the ground, the graph would be at its HIGHEST point, because the ball is moving fastest just before it hits. Likewise, the graph will be at its lowest when the ball is at the peak of it’s bounce, since that is when it is moving the slowest, waiting for the next fall, as it were.
But that’s with XY combined, which forces AE to do vector math to produce the graph.
With the XY separated, you lose the speedometer effect. Now there is only a single value to plot, so there can be a positive and negative value, whereas with XY combined there is only moving / not moving (nothing goes below zero when they are combined, in other words). So X holds steady at 400 pixels per second to the right (thus a positive number — right is positive, left is negative, in AE-land).
When Y is moving down the number goes up. It’s not very intuitive (not for me, at any rate) but it helps explain some of the confusion, I think. Your ball experiences a sudden burst of upward thrust when it hits the ground — that’s when the green graph line jumps down. From that point on, the ball is being constantly pulled by gravity, so there is a constant reduction in speed, thus the graph slowly (and steadily) moves up (remember, everything is backwards!).
When your line crosses the 0 point while moving up, that is the moment when your ball changes from traveling up to traveling down. Phew! You wouldn’t think that zero line matters too much, and mathematically the graph may not care too much, but visually it makes a big difference when the Y crosses that zero point, even if it does so with such a smooth diagonal line….
Ben Unguren
Motion Graphics & Editing
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You are moving with the selection (v) tool; try repositioning the layer’s time using the anchor-point selection (y) tool. As long as none of your layers are selected, the timing of the footage will change without moving any of the key frames.
Other methods:
– Use time remapping on your layer, then select both remap key frames (start and finish) and move those around as needed.
– Pre-comp your layer, choosing the option to keep all settings in your current composition. Then go into the precomp and slide the layer around to your heart’s delight!
– The clone tool (you find it as a part of the brush tool options) has a time offset feature, but of course it uses cloning instead of masks.
Ben Unguren
Motion Graphics & Editing
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There are multiple approaches to this problem; I like to set up a 720×534 comp in PS (that’s 4:3 with 720 in the ‘4’ spot), do all my graphics there (scale any video stills to fit the new size, etc) and then just before sending to FCP, I will save a copy and resize it to 720×480.
The mantra: Do all graphics in square-pixel land. For my part, it saves me a lot of trouble down the road.
Ben Unguren
Motion Graphics & Editing
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