Brent Taylor
Forum Replies Created
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Hi Cara,
I don’t usually use 2017 unless a client has sent me something that’s started in it already. But I looked at it real fast this morning and it looks to me to be laid out the same way as the last version. I took a screenshot for you.
You should have at least 4 boxes illuminated like in the picture. Try clicking the blank areas where all four of mine are.
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Dave: What codecs would you recommend using instead of MP4 or H.264 to avoid these types of problems?
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Awesome. Thanks so much everyone.
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Hi Walter. Thanks for your help.
My RAM should be good to go at 32GB. It’s set to reserve 6GB for other applications. So usually it’s splitting RAM between AE and Premiere, and sometimes AME or Illustrator (but usually just its own or AE / Premiere).
Here are my system specs:
i7-6800K CPU @3.4 GHz
32 GB RAM
Windows 64, x64-based processor
NVIDIA GeForce GTX 1060 6GB GPU -
Another solution would be to cut the mask path and use it to make a shape layer with no stroke and a solid/100% opacity color. Put it right above the original layer, and parent the shape layer to your original layer that had the mask, and then select Alpha Matte in the original layer’s TrkMat settings. That should give you the same “mask” but give it the ability to take the Roughen Edges effect.
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Darby / Tim:
Thank you. I see those options, but I’m not sure what to change to get a similar resolution and speed to “Quarter” in the preview. For example if I go to change Best Settings I can choose between Current, Best, Draft, or Wireframe. In AME I’m not sure what the corresponding choice would be either.
Sorry if this is kind of an elementary question. I’ve tried turning a few different settings down to a quarter of what they were, but they’re always still much slower than the Quarter RAM preview was.
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The puppet pin tool is a raster effect, so you can’t use it with the continually rasterize option. It messes it up. So like you’ve noticed, you need to precomp it.
Here’s how I do it…
Take the element (in this case the hair) that will have puppet pins. Precomp it. In the hair composition, make it really large using the continually rasterize option. Make the composition itself really big too (as much as you’ll need to zoom in… if the camera is going into 300%, make it 3 times larger, etc).
Back in the main comp, size the hair precomp down (if you did it 3 times larger, make it 33%). Then turn off the continuously rasterize option. Apply the puppet pins to that.
I find this works well. Just don’t overdo the resize, or your renders will be really slow.
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Darby: Could you be a little more specific? I’m not sure exactly which settings you mean. For example, I tried exporting in the Quicktime Animation codec at 20 instead of 100, but that still wasn’t anywhere near as fast as the quarter quality RAM preview.
Dave: Yes, I’m doing that. The larger comp is nested into a delivery-sized comp (1920 x 1080). The delivery-sized one is the one I’m rendering out.
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Thanks Neal.
So doing that is giving me the same bug as before.
If I have it set to CUDA, I can see it in the preview window.
If I have it set to Mercury only, your solution looks like it works, but still shows up in the final render (even if I chose Mercury only in AME before the export).
So strange that throwing this into After Effects is still the only thing that consistently works…
I wonder if it has something to do with my export settings?
I’ve just been using H.264 Match Source – High Bitrate for most of my tests. Just now I tried Quicktime and it’s actually worse… instead of the bar showing up during the fade, you can see it the entire time.
Maybe someone can recommend a good export setting that lets me avoid this?
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Sorry, had the above backwards. Mercury looks ok in preview, not GPU. But both render incorrectly.
