Ben G unguren
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After Effects Coin
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COW Coins
Forum Replies Created
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I can’t tell where your cameras are in that screenshot, but I did notice that Layer 2 is in a different spot from Layer 1, and you might want to move it (in the Top and Side views) so it is in approximately the same place as Layer 1.
I should point out that I haven’t done much with 3D Photoshop stuff in AE, so there may be subtle (or not so subtle) details that I’m not aware of in this process….
Ben Unguren
Motion Graphics & Editing
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You are only allowed a single Camera to be working at any given time. My suspicion is that your cameras aren’t pointing at the same place, so your new camera hasn’t deleted the other 3D item, it’s just pointing a different direction….
In your comp window, enable a 4-camera view. Try to find both cameras and both your 3D objects in the top or side views. My guess is you will need to reposition one of the 3D objects.
Whichever 3D camera is the highest in the layer order will be used, assuming it’s visibility is turned on and the layer hasn’t been trimmed to another part of the comp.
Ben Unguren
Motion Graphics & Editing
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From what you’re providing, I can’t tell why there would be any problems. If this is something you still need to troubleshoot, try removing items (beginning with 3rd party plugins) and rendering until it starts working. Sometimes there will be a single parameter on a single plug-in that’s slowing everything down, but you need to isolate the bottleneck….
Ben Unguren
Motion Graphics & Editing
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If you don’t see the ground, then you don’t really need the solver to know exactly where it is. In that instance, I usually make the origin my point of interest (where I am putting in CG elements, for instance).
But, as others have said, the main difficulty with this shot is the lack of parallax: you need foreground, mid-ground, and background elements. And you only have background.. I use syntheyes, and if someone gave me this shot I would tell them that there may not be enough 3D information to get a good solve, but it might be possible to get a 2D track; that is, to treat the camera as though it were on a tripod. Of course, the shot is handheld, but you don’t move it around enough in 3D space to give much confidence for a 3D solution. Really you might get better results doing this in Mocha as a planar track, particularly if you only need to put in a background plate.
I recommend the syntheyes website for good general rules on what makes a track-able shot.
Ben Unguren
Motion Graphics & Editing
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Someone correct me if I am wrong here, but I don’t think MochaAE ever included MB capabilities. The standard method I have used is to use timewarp after the fact to add motion blur (set the remap speed to 100 percent), or I will add the blur manually with a feathered mask edge in MochaAE.
Ben Unguren
Motion Graphics & Editing
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+1 to Shawn. We need to see what you are up against before giving very useful advice.
Ben Unguren
Motion Graphics & Editing
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Do you have the latest upgrade of CS5? There was a problem within.aiff audio in some of the earlier builds….
Ben Unguren
Motion Graphics & Editing
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We would know more about your render settings if you expanded the arrows next to the render and output settings in your queue. That said, when you are having troubles like you are describing, it can be a good idea to render to an image sequence instead; that way you are able to pick up a failed render where you left off….
Ben Unguren
Motion Graphics & Editing
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Command+Opt+A selects all visible keyframes; holding the option key while dragging the outermost keyframe of a selected set does a proportionate scale of the selected keyframe set (I like to call it “accordion scaling”).
If you want a single keyframe to retime everything, you can pre-comp the animation, then use time remapping to tweak the group animation to your heart’s delight. That’s so easy to do it’s sickening. You can even do it with 3D layers if you collapse transformations.
There is also a way to do this with expressions, but in most cases it’s too complicated to bother with. I’ve done it in the past when working with 3D motion tracked footage — I’ll track the footage in Syntheyes then export a 3D camera and other 3D nulls into AE. Later, I end up time remapping my footage and need the camera/nulls to speed up/slow down to match the remapped footage, so other 3D elements match with the base footage. (See how complicated it sounds, before we even start writing expressions?) Here’s how I do it with the camera, for instance: First, I add Time Remapping to the base footage. Second, I make a copy of the camera — name one “REF_CAMERA” and the other “REMAPPED_CAMERA.” Third, for all animated values of the “REMAPPED_CAMERA” (we’ll use Position for the example) I create an expression that, in essence, links the value of the Position of the REF_CAMERA at the Time value represented by the remapping done in the base footage (using “value_at_time”). I don’t have the expressions in front of me, but it does take a little while to set it all up. Once you’re finished, however, it’s pretty cool — the only thing you change is the time-remapping keyframes for your video (or a precomped layer, or whatever works for you) and a bunch of animated layers are updated accordingly.
But, as I said, in most cases this last option is a complete waste of time.
Ben Unguren
Motion Graphics & Editing
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For a temporary fix, you can arrange your precomped layer in the correct 2D order (above the layer behind it, below the layer in front of it, i.e.). My guess is this will also prevent any intersections between layers above and beneath wherever you place the precomped layer in 2D as well….
Ben Unguren
Motion Graphics & Editing
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