Blaise Douros
Forum Replies Created
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Another vote for you to hire Bob–I’m running a QNAP system that he set up for me about 3 years ago. His setup fee is extraordinarily reasonable, and he provides support afterward, which you will need at least once or twice. The specific configuration is just as important as the right equipment, and Bob will do that for you.
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I mean, to be totally fair, I used AE’s built-in mask tracking to rough it in, and then refined the keyframes ☺
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Here, I took a VERY quick pass at it. Pretty simple but it gets the job done.
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This is a really short shot, so as long as you’re not looking for a true 3D animation (which After Effects doesn’t really do well, and would require some pretty complicated tracking and modeling to match the pipe geometry), you could pretty quickly just roto the pipe with a mask or two. Then you just animate a solid, with a blue color, partially transparent, to roughly follow the direction of the pipe, and the mask gives it shape.
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There are a couple of things to make sure you do:
Make sure you select the master audio track first–i.e. whichever audio is going to be present throughout any camera stops and starts. This ensures that the camera audio is mapped to the main audio track, which should then persist through the setup. Then select the video clips that correspond, and create the Multicam Sequence.
Yes, there is usually going to be some cleanup, as each successive clip will be mapped to “new” cameras. However, it will automatically sync them to the audio, which should correct the drift over time (except on super long takes). You will then have to move the clips vertically so they’re mapped to the correct camera track, but this doesn’t require much concentration.
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That was the politest “no kidding, genius” I’ve ever gotten from anyone, on the internet or otherwise. Kudos for your restraint. ☺
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If you’ve already interpreted the shot to 25p, than you’ll want to turn interpolation off (or rather, back to Frame)–there’s no need for it, since the clip will now be playing frame-for-frame, slightly slower. If you haven’t interpreted the clip to 25p, then you’d need to mess with the interpolation.
I think the key here might be that it’s a HEVC clip. I’ve found that despite Adobe’s claims of universal compatibility on the timeline, Premiere doesn’t like Long-GOP formats, and it likes h.265 even less.
To Render and Replace on the timeline (which would replace the clip with a transcoded version, solving the h.265 problem if that’s what is really the issue), right-click the clip in the timeline, and select Render and Replace. You’ll get a dialog with several codec options, and then Premiere will render a version to the new codec.
Sometimes I have better luck with sending it to Media Encoder from the export window, and then selecting the Software Renderer there.
Good luck–I hope one of these suggestions helps. I hate problems like these, dealt with one last week.
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Duplicate the sequence and name appropriately (MainTimelineFINAL_NoFX), select all items in the timeline, right-click, and Remove Attributes.
Export this effect-less timeline for your collaborators, while retaining your main timeline with effects enabled.
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Interpreting the footage to 25 means that you’re playing back the 29.97 clip in slight slow motion. Is that your intent? If you want it to play back in actual real time, just put it on the timeline and Premiere will interpolate the frames. You can even set the clip’s interpolation to Optical Flow, render it on the timeline, and in your export, select the option that allows the exporter to use rendered timeline clips.
Is the clip in an h.264 format? XAVC, AVCHD, MXF? Try doing a Render and Replace of that clip in the timeline, to something like ProRes or a DNx flavor, and see if that helps. Sometimes Premiere gets twisted up on Long-GOP clips, sometimes for no reason at all.
Finally, try switching to the Software Only renderer. It’s slower than the OpenCL renderer, but way more stable.