Ben G unguren
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After Effects Coin
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COW Coins
Forum Replies Created
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For questions like these, a test run is ideal. Unless I’m thinking this through incorrectly, if you’re balancing for tungsten, this will push your daylight-color on the greenscreen into blue. I’d think you’re okay, as blue doesn’t conflict much with skin tones, either (assuming wardrobe isn’t going to conflict). I’d be a lot more concerned if I were doing it the other way around (subject with daylight, background with tungsten).
Why not grab some blue gel and up the color temperature on your subject? That’s a pretty inexpensive solution, and takes out this uncertainty….
Ben Unguren
Motion Graphics & Editing
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Make sure you have the latest update — this is a known bug in the initial release of CS5, but is fixed in updates. I am running CS5 version 10.0.2.4 on one of my machines and the audio problem is gone. (It HAD been there in the original release of CS5 — 10.0, presumably)
Ben Unguren
Motion Graphics & Editing
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Your question is way too general. The codec you want depends on your delivery needs:
Animation Codec: exporting for motion graphics, or when you need absolutely no quality loss. These files are HUGE so they can’t play back properly on most systems. You don’t compress to Animation for playback, you do it for additional work.
H264: Very common for web delivery, but there are dozens of options for compressing — file size, frame rate, bitrate, keyframes, etc.
Those are the two most “generic” codecs, in my experience. When you don’t know what format is preferred, you use one of these two. For editing, I use ProRes and DNxHD a lot.
Ben Unguren
Motion Graphics & Editing
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I think most AE artists just create their own in a program like Illustrator, then animate it (if needed) in AE, and composite it over the video.
Ben Unguren
Motion Graphics & Editing
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[Stefan Hinze] “220 / 1,85 = 118.91891”
…or you can just work in square pixels, then the math gets a lot simpler.
Ben Unguren
Motion Graphics & Editing
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Those are really good points, Jeff. Especially for folks coming from FCP-land, matching your timeline codec to your footage is absolutely critical. From what you’re saying, it sounds like this is less of an issue in PPro. Personally, I could use some more understanding of how this works.
Ben Unguren
Motion Graphics & Editing
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Are you talking about those extra audio tracks? Right-click on the left side of the timeline, choose “add/delete tracks” then tick the box to delete audio tracks and choose the option that says to remove all empty tracks. (I don’t have the app in front of me so the text might vary a bit from how I’m describing it here…)
Ben Unguren
Motion Graphics & Editing
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Funky stuff! Have you tried exporting your video uncompressed first (at 25fps, etc — match the PAL standard), and then compressing it? I’m guessing that will fix everything.
Ben Unguren
Motion Graphics & Editing
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Stephen
Animate your anchor point parameter instead of position. Keep the position right in the center of the screen. This not only helps with animating scale, but it also allows you to fiddle with rotation if you want (like the camera wobbles a tiny bit while zooming in) — the rotation will happen around the center of the screen. Good luck!Ben Unguren
Motion Graphics & Editing
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Hard to say without looking at the project. However, there is a workaround: Set your comp to full-quality everything (full resolution, motion blur and frame blending enabled, etc), then press command/control with the Numeric 0 key to RAM preview — once the RAM preview is complete it will prompt you for a place to save the file. Then it will write an uncompressed (Animation codec) movie directly from the RAM.
Of course, this is a temp fix, but sometimes for smaller projects it can get you through.
Good luck!
Ben Unguren
Motion Graphics & Editing
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