This is an oldish thread, but I see no answers, so I’m going to do a quick one.
This artifact can be caused by fluorescents, in which case the answer is to shoot in ECS (Extended Clear Scan) to minimize the effect: https://www.manualslib.com/manual/860623/Sony-Pxw-Fs7.html?page=61

Faster shutter speeds will actually make this harder, so 23.976 or…

Read more

Oh my gawd, yes. My absolute favorite new (free and open source!) tool for any interview-based editing is called AutoEdit3 – it’s an AI transcription tool that allows you to build paper edits which can be exported to EDLs. It is a HUGE time-saver, and feels like cheating. There are companies out there charging subscription fees for the exact same…

Read more

@glennsakatch for some reason this ended up in the Resolve forum, but @daneshubert mentioned that he is in Premiere and needs to use Lumetri to accomplish this.

Jim’s on the right track here–AI files will NOT import to Premiere Pro as vectors. PP will rasterize the file at the native resolution of the AI file. A lot of Illustrator users have a nasty habit of using a tiny canvas, and as long as the assets stay in vector formats, that’s fine–but when you bring it into PP, it will be rasterized at that…

Read more

You can do this easily in Lumetri, no need for a Resolve round trip; mask off the area you want to isolate (in this case your chest, I’m assuming?). If you move around a lot, you may need to track it–in the Effects control panel, you can draw the mask, and then use the little transport buttons that look kind of like: <| < > |> (they’re right…

Read more

The 3D Camera Tracker doesn’t love tripod pans–what it really likes is camera movement with parallax. In fact, there’s an Advanced setting in the tracker that you can toggle for a camera that is mostly just a tripod pan–and it’ll tell you that you won’t quite get a 3D track. But it’s worth a shot–messing with the settings can be helpful.

Also,…

Read more

You can fake motion blur with Time Remapping, as you tried up-thread: just make sure to turn Frame Blending on for that clip, and (this is the crucial part) render that section of the timeline. You will NOT see an accurate preview unless you render it–it will show up like Frame Sampling until you actually render.

Your YouTube example links are not viewable, as they are all set to Private. Set them to Unlisted.

I’m with Eric, I don’t mind the little bits of shake. But: if you’re hell-bent on it, I think that the Point Tracker will be your best bet for this. If you’re having trouble finding a solid contrasty point to track, try pre-comping a copy and bringing up the brightness with Curves, and use the tracking data from that one to apply to your darker…

Read more

Are you looking for a Layer Space Transform? Put this expression on the 2D layer, and connect it to the 3D Null:

this_comp.layer(“your3Dlayername”).to_comp([0,0])

Replace coordinates with coordinate of the feature to be followed.

Alternate spelling:

L = thisComp.layer(“My3DLayer”);

L.toComp(L.anchorPoint);

Right now, you have two different paths for the “a” character. Basically, you only want After Effects to have one path present, but the
keyframes that you set will make the paths change. Keyframe 1 is the
original “a,” and keyframe 2 is the altered “a.”

What you want to do is copy the path keyframe from your altered “a” into the path for the…

Read more

Reshoot, or live with ’em. There is absolutely no good way to do this that doesn’t involve calling up a VFX house to photoscan his head and comp in new CGI eyes behind the glasses. Or a bunch of roto and 2D paint work.

If it’s one short shot, you might be able to do something in Mocha; you’d do a planar track of the whole area, and place clean…

Read more

I mean, basically, you want the text to stay locked in place to a specific feature without rotating or moving in 3D at all, the way it would behave if it was actually located in 3D space, being affected by the camera. That’s cookie-cutter Point Tracker 2D tracking material. If the text was actually floating above the jacket in 3D space, it would…

Read more

There are a couple ways to solve this, and the easiest is to not use the 3D tracker–the Point Tracker is a much better tool for this. It’s hard to tell from just a frame grab, but if the motion warrants it, it’s sometimes a lot easier to track it in 2D for 2D graphic overlays.

The other thing you could do is set up the 2D graphics to Orient To…

Read more

This won’t solve ALL your problems, but make sure that you’ve set the First Vertex for each shape keyframe so that the motion is advantageous:

Basically, this lets you say to AE “hey, when you morph between these two shapes, you should make THIS point on shape 1 move to THIS point on shape 2.”

Any MD-to-E-Mount converter should work fine. You won’t have things like aperture control or autofocus, but there’s no reason to think it won’t work. I use adapted vintage lenses all the time on both Sony and Canon bodies, and I have rarely had any problems (and when I did, it was related to lens elements blocking the Canon’s mirror, which isn’t a…

Read more

You said the mic is plugged into input 2: On your XLR settings, on Channel 2, select input 2. All the configurations you posted above notably don’t include using input 2, where your mic is plugged in.
This assumes you’ve got something else, like a shotgun mic, in channel 1.

You’re probably thinking of the channels as stereo pairs, with each
channel…

Read more

Five years later, this thread comes lurching out of the grave, heeding the call of this necromancer demanding its fealty. It groans its anguish at being called back to life, but its new master is unrelenting.

GoPros aren’t really any more professional in their control scheme today than they were five years ago, though the image quality has…

Read more

What Ann said ^^

I think the confusion here is that you mentioned Opacity, which refers only to a layer’s transparency; it has nothing to do with the Time Remapping function other than it’s the next keyframeable property above it.

If you’re looking for a more global speed change, you can highlight multiple clips, right-click, and select…

Read more

If I were in your shoes (and thank god I’m not, this sounds like an enormous freakin’ drag) I would be jumping into AE and setting up a big render of all your relevant AE comps into Media Encoder and rendering them off overnight. If it’s overlay GFX, something with alpha, otherwise, just ProRes LT or something similarly good-enough but lightweight…

Read more

I have re-read this question about six times, and I can’t figure out what you’re asking. Are you asking whether you can tie the time remapping property to a clip’s opacity? Are you asking whether you can change the time properties of multiple clips in bulk?

Maybe I’m misunderstanding the issue; are you not able to manually reconnect the Dynamic Link objects?
Normally, if this happens to me, I right-click on the offline Dynamic
Link in the timeline, select “Link Media,” navigate to the .aep that it points to, and
it reconnects. Does it not work to do this?

If you create a new Dynamic Link as a test,…

Read more

A little 2.5D trickery may be the ticket here. Create a solid, and a circular mask path for you to reference. Then place the little dudes around the circle. Parent their position to the solid. When you spin the circle, they should spin with it, retaining their position.

Now flip all the layers to 3D, and create a camera. Select all the little…

Read more

Hey Pete! Welcome to the forum. Generally this is a help and how-to forum, but I don’t think anyone will object if you’re offering some paid work–asking for someone to do your work for free is a much worse offense.

As for your questions: it would probably help if you had some kind of example of the look you’re trying to achieve, or a clip to post…

Read more

If the Z280 is too big, the FX6 is DEFINITELY too big. Why not go with the Z90? That’s about as small as a camcorder gets, and it has autofocus and SLog3.

It’s still not clear what your use case is–are you trying to do the map thing, or the building thing?
Either way, this is entirely possible using After Effects.

If you’re doing the building thing, you just need to make sure you’re getting a good 3D Camera Track. Mocha AE isn’t the right tool for this–forget about using it, and focus on getting…

Read more

You may need to render out a separate pass of the footprints (if you haven’t already). Make sure the matchmoving is good on your footage. Then, I would suggest using blending modes as your main compositing tool; essentially, you’d be compositing the shadows onto the existing snowy surface to create the illusion of depth. I do this regularly,…

Read more

You should be able to reduce the number of Echoes you use on the motion-blurred frames–I’d recommend trying the Screen transfer mode for smoother results, perhaps. You don’t need 1000 echoes to get all the way around the circle–what you need to find is the minimum viable number of Echo effects that combine well with the motion blur to get a…

Read more

I think you may be over-thinking this, and that you might already have half-stumbled on the answer.
Take the time stretched version (the one that’s 11 minutes long) and pre-compose it. Now in the new comp, apply a new time stretch effect that speeds the footage back up to real time, and enable Frame Blending. This will take all the new frames…

Read more

Once you’ve set the Ground Plane and Origin, what happens if you set the position of the Solid to 0,0,0? That should set the position of the Solid to the Origin you’ve specified (I assume you want it to match the Ground Plane you’ve set in the image you posted?

The other thing I like to do is to jump into the 3D view and see if the camera is…

Read more

Saying “hear, hear” is silly in this context, but all the same: hear, hear.

My wife is working on a podcast for which I’m engineering much of the audio (the things our spouses rope us into, eh?), and I pushed them from the very beginning to get and post transcripts for precisely these reasons. It makes the editing process easier, it makes them…

Read more

If you WERE trying to get the piano to play itself, like Mark Suszko is suggesting, you could just go shoot a Yamaha Disklavier for half a day. They play back MIDI files in real time, on a real keyboard, just like a ghost playing it. https://usa.yamaha.com/products/musical_instruments/pianos/disklavier/index.html

The method that Mark is outlining is actually still 100% the best way to do this–and it will be easier than the other way around.

Now, caveat: I can’t see your footage, so there may be something preventing this, like black sleeves–those you might have to mask/roto. But hands over a black and white background ought to be easy!

All you do is add a…

Read more

I’m not a Trapcode user, but from a purely conceptual standpoint, I think the emitter needs to be tracked to follow the motion of the person from which the bacteria are shedding, so that they have motion that follows the emitter when they are born. I’d bet that will create most of the motion you need for a short shot.

Not a Media Composer user, but chiming in to say: I would suggest a frame blending method over an optical flow-type solution; it looks a bit more like natural motion blur, and works better the faster you speed up the footage. Optical flow/morphing-type effects work better for stationary camera + moving subject; you get lots of artifacts when the…

Read more

Weird possibilities abound in this business. When I was working for a small studio in Monterey, California, we kept getting this weird staticky interference on our powered studio monitors in one of our edit suites. I checked EVERYTHING. Power grounding, loose connections between audio interface, ferrite on the computer’s power cables, sound card,…

Read more

One last thing–I found something suggesting that cell phone 4G signals sit just below the low end of channel 70, near the 863 range. https://www.soundservices.co.uk/wireless-microphones-radiomics-uk/ So maybe pushing the channel settings up to the top of the available settings, to the 865 range if possible, might help, too.

Listen to the noises…

Read more

I think the first thing to look at is whether there is some faulty electrical equipment you can link to the noise. So turn off the fluorescent lights, for example–if the noise goes away, start looking for the bad fixture.

Does this ONLY happen when there are multiple mics turned on? If so, then it’s possible they’re interfering with each…

Read more

Hi Kerrar–can you be more specific? Are you looking for recommendations for complete systems? Cameras? Switchers? Computers? Software? What kind of productions are you streaming–presentations? You mentioned videoconferencing too–what are your needs there?

The good folks on this site can probably be more helpful if you detail what you’re trying…

Read more

The first thing I would check would be that there’s no RF interference–most receivers have the ability to scan for clean frequencies, and then set the transmitters to match. Also, I note that it’s happening on two channels, so it might be worth checking to make sure that those two mics aren’t set to the same or similar channels, thus interfering…

Read more

What rez are you exporting, and at what bitrate? At 1080p, you should be able to get a really clean 30-minute file for 5gb, especially with a nice bitrate and two-pass encoding. If you’re trying to get a 4K file down to 5gb for 30 minutes, you’re basically going to be cutting the bitrate down by 1/4 from the equivalent 1080p export.

I don’t think the FS7 does it–I’ve never gotten mine to. One thing to try would be to make sure you’re outputting the Display Overlays to the monitor? But I’m pretty sure that Zebras and Peaking only work with the built-in VF.

A lot of the compact monitors like SmallHD have their own built-in zebras–that might be your best option–it’s not free,…

Read more

Blackmagic is a good option, as Eric said. I’d also look at the Sony FS5 as an option at the high end of your budget.

How much do you care about form factor, and is it better if you can get more cameras? One great lower-budget option would be to get a bunch of Sony A7III’s, add the K2M or K1M XLR recording input accessory, and then you can…

Read more

Everything appears to be working great–file behaves as expected when I pull it down. Nice work!

I brought this up recently; the Cow staff replied that are working on getting the .aep file type added. For now, you can upload an .aep within a .zip file, and it’ll work fine that way.

Oh man, it’s so great when it’s that easy! Ask and you shall receive!

Yes, to my knowledge, .aep is the only extension for After Effects project files (I’m a couple CC versions behind, for stability)

Looks like the mime type is application/octet–stream for one of my recently-created .aep files. I think, anyway. I’ve zipped it up and added to this…

Read more

Crystal, can you clarify what you mean by this? Do you mean making the image appear to shake as though the camera is shaking? Or is it a transition? Some more description and links to examples would be helpful.

I’ve seen something similar–for awhile, if I was rendering a Dynamic Linked AE project in Premiere, it would hang basically forever…unless I clicked into AE, and then back into Premiere, at which point it would render like normal. It was 100% consistent.

What I did to fix this was…nothing. I just dealt with it for awhile, and then it stopped…

Read more

Definitely understand the process of getting the big stuff working right first–my place of work is doing something similar right now with our site, so I feel the pain keenly. I’m glad to hear it’s on the roadmap, and hope you and the rest of the team are not pulling hours that are too painful. Hang in there!

Hey Cow Team! I went to upload an example After Effects file to reply to a question, and noticed that it appears the only attachments allowed now are images.

Any plans to re-implement the file upload feature? I know with the proliferation of services like Dropbox, Google Drive, Box, etc. that it reduces the amount of data you’d have to store.…

Read more