[Cal Johnson]

Hey thanks, that’s a good suggestion, thank you!

Cal

[Cal Johnson]

Thanks Darby… I just started learning Photoshop which is why I used it for the graphic. I thought of vector graphics and Ilustrator when I saw that the “continually rastersize” button wasn’t an option the first time I tried, but I don’t know Ilustrator. One more program to learn I guess! Thanks again.

Cal

[Cal Johnson]

Thanks guys, the tutorials set me straight… does anyone know how you retrieve hate e-mail sent to Adobe? Ah, just kidding.

Cal

[Cal Johnson]

Ok, so I’ve tried everything, no luck. Here’s a fairly straight forward example of what is going on.

At the start of the comp, I enable keyframing for both position and point of interest parameters. I start with a simple camera move, a dolly in towards my graphic. I then want to crane down my graphic to a different section. There is never a point in which I want the camera to crane up, it goes from moving straight towards the graphic to craning down. Yet, there is a weird up & down bobble just before the camera moves down. I’ve tried adjusting the handles of the motion path, I’ve tried the graph but it shows linear keyframes.
I’m getting discouraged and starting to wonder if this is just a software limitation. As I mentioned, I do lots of graphics work with 3d aps for logos and such, and this problem never arises. You simply move and position the camera where you want it to be, from one point of the animation to the other.

Cal

[Cal Johnson]

I’m not using orientation and POI at the same time, I never was. I’m only using position and POI, not orientation or rotation. The keyframes were set to linear. It seems to be an inconsistent problem. Some moves are ok, others go out of wack. What I don’t understand is how setting a third linear keyframe effects the camera movement between the first two.

I’ll have a look at the graph and see if I can straighten out any issues there. Thanks.

Cal

[Cal Johnson]

I bought this DVD. Its great, really worth the money. I also feel that I’ve benefited from Aharon’s efforts on this site, and was happy to have the opportunity to buy the DVD. The 25 tips for working better had me saying “cool, I didn’t know you could do that!”. Get this disc, its totally worth it.

Cal

[Cal Johnson]

This is a good question. What you are talking about is called “Time Remapping”. At first, you’d think your request would be pretty straight forward, like “hey computer, just slow this clip down gradually”. But for the software, its a more complicated issue. You have to decide where frames are going to appear in your time-line, what portions are going to be slowed down or sped up, and what in or out points are going to be honored.
Currently, time-remapping is available in After Effects. Its also coming out with Premiere Pro CS3. In the meantime if you want a cheat you could try creating a new sequence, put the clip you want to slow down in it, cut it up into sections, and then apply a different speed to each section, maybe even a dissolve from one section to the next. I’ve never done it because I have After Effects, so I don’t know how well that would work. Just another reason to upgrade to CS3!

Cal

[Cal Johnson]

Keep in mind that part of the effect that you’re seeing is that a portion of the photograph (the person/persons) have been cropped out, then added as a seperate layer. Both the full photo and the cropped person are set to 3D layer, then the person layer is positoned forward of the complete photo in Z space. When the camera is orbited around, depth is added because you can see that the front layer is indeed further forward than the back complete photo. In some of the shots you can even see the duplicate person on the background photograph.

Cal

[Cal Johnson]

You can just make your backdrop layer a 2D layer (uncheck the little box that makes it a 3D layer) and then it won’t be affected by any camera movement.

[Cal Johnson]

Good question, and you’ll love how easy Premiere makes this task:
1) In your current project, create a new sequence. Call it “time code” if you like.
2) With your new “time code” sequence open in your timeline panel, drag and drop the original sequence that you wanted to add the timecode display to from your project panel into your “time code” sequence onto video/audio track 1.
3) From you effects panel, open the folder called “video” and select “time code”.

You now have time code laid over top of your video.

You can open the Effects Control panel, expand the “Time Code” controls and positon the time code display where ever you want.