Blaise Douros
Forum Replies Created
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I wouldn’t be surprised by that either–I’ve seen problems with high-res jpegs in the timeline crashing the program, crashing when trying to adjust audio keyframes after editing captions, and issues when a large number of text layers are being used. You might have better luck nesting several sequences after pre-rendering them, to cut down on the number of “live” text bits in the sequence.
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No, it’s not a new 3D shape: you use the 3D camera tracker’s interface to place a solid along the plane of the ground. Then you draw a path on the surface of that solid, and use that path to generate a stroke. Because the solid is matched to the ground plane, the solid (and thus, the path that you drew on it) will stay in place as the camera moves.
There are a myriad of tutorials on how to place a solid on the ground plane of a scene via After Effects’ 3D camera tracker–Google is your friend here! If you continue to have issues and need to make a deadline, PM me and I might be able to help you out for under an hour’s worth of work.
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I’d suggest pushing back on your client that you both want and need to complete this project in AE. Premiere is NOT meant for text animation, and has trouble sometimes when there’s lots of text layers and images on a timeline.
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You could pretty easily use the Audio Spectrum or Audio Waveform plugins, along with some glowing effects. They won’t move in 3D space well, but you can either animate the ends with a point tracker, or place them on a solid that’s tracked into 3D space. After Effects doesn’t do true 3D, so you’d have to get creative to simulate it.
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I have done this plenty of times with drone footage to show underground pipelines rather than roads. Check out 01:17 (picture-in-picture) and 02:01 in this one https://vimeo.com/216934929 and 03:00 in this one https://vimeo.com/188448543
1. Take your 3D camera shot from Google Earth Pro, and do a 3D Camera Track to get the camera movement.
2. Place a solid into the scene using the 3D tracked points, aligned with the ground. Scale it up so that it covers the entire length of the road.
3. Use the Pen tool to draw a vector path along the road, on the solid. Since the solid is already aligned in 3D space, you can draw it to match the road, and as long as your 3D track is good, it will match the movement of the road.
4. Create a Stroke, and use the path that you’ve just created as the source. Now you can animate the stroke to go from one end of the road to the other.
If it’s a REALLY involved path, you could take an overhead screenshot of the map, place it in the 3D tracked scene, match the placement, and pre-comp to draw a more accurate path.
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Have you checked Vimeo in multiple browsers? Have you viewed your exported files in VLC? Have you uploaded to YouTube and viewed it in multiple browsers?
All of these use different settings to display video–yes, even different browsers use different color space settings–so viewing a video in Vimeo in Firefox could conceivably result in a COMPLETELY different look from Vimeo on Chrome.
Viewing in VLC will allow you to check whether Premiere is ACTUALLY exporting washed out images, or whether you’re seeing the dreaded Quicktime colors–Quicktime is NOT a reliable indicator of whether your colors are being exported correctly, and neither is Vimeo, since it is interpreted depending on its host browser. Once you view in VLC, and you know that, you’ll then be able to find the next link in the chain.
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Are you viewing in Quicktime? Quicktime has a known issue of lifting blacks from 0 to around 10, producing a slightly washed-out look. View your videos in VLC for the most accurate picture.
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Why not just create a rectangular mask on your full-screen image, and place the “picture in picture” image on a track below it in the timeline? Then you can do whatever you want to the PIP image “behind” the front full-screen image. It’s easy to create a mask on one clip, and copy/Paste Attributes to all the clips in the upper track.
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Sounds like you’ve made up your mind, in a different direction. The only thing I’d caution you about the C200 is that its slow motion capabilities aren’t quite up to the FS7’s, at 180 fps in 1080p XAVC-I. The C200’s 120 fps isn’t bad at all, though.
I’d say you should probably remove autofocus from your list of things to worry about. There’s no way autofocus is going to work well for wildlife video!
As for lenses, the E-mount adapts lenses with ease, so I’d remove that from your list of things to worry about, too.
At this stage, what you really want to do is rent both of them, and play for a day with each. Then you can make the most informed decision–the one based on how well you like working hands-on with the camera.
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Don’t listen to Bouke. 10-bit color is EVERYTHING, especially if you want to sell stock footage–the additional color latitude you get is absolutely invaluable. 10-bit log footage has something like 95% of the data of RAW, at a quarter of the bitrate. Get the GH5s and a big heavy fluid-head tripod–that’ll keep your shots nice and stable. 2X reach is huge for birds–400mm is just not that long on full frame.
I DO agree, though, that if you want to be really deliriously happy, the FS7 is lovely–I use one every day. However, it costs a LOT more than a GH5s system.