Cal Johnson
Forum Replies Created
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Thanks Julian, I thought that might be the case.
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It’s hard to give you specific details as your post is fairly generalized and the problem could be occuring at a number of different stages between capture and final DVD output. Basically, you must make sure that the 16×9 format is being honored through each stage of the process. Your Premiere project should be DV Widescreen, 16×9 1.2 pixel aspect ratio. If you’re using Premiere 2.0 you can export right from the timeline to DVD (this may be true of other versions of Premiere Pro, but I went from version 6 to Pro 2.0, so I’m afraid I can’t tell you what the versions in between are capable of).
Exporting from the timeline is a great option, as the default settings for the DVD should nicely match your project settings. Still, be sure that the DVD is being formatted as 16×9. If you can’t export your timeline directly to DVD, you’ll have to make an AVI file, and then bring it into a DVD authoring software package, and create the DVD from there.
To break it down, there are three areas where you might be likely going wrong:
1) capturing the DV footage with capture settings that are not 16×9.
2) not having your project settings set to 16×9. (which will also cause problem #1)
3) Authoring the footage to DVD with incorrect transcode settings (probably the most likely culprit). -
Do you mean how do you make it look like someone just sprouted steel claws from their hands?
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You could either use a looping expression for each of the keyframed properties, or render your 12 frames out as a motion file, such as Quicktime, re-import it, and then go to your interpret footage dialogue window (ctrl F) and set the loop option to repeat as many times as you need to cover your 14 secs (around 45 times should suffice).
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Right, my point exactly. That’s all I was asking. Once you use the automation feature, the only way to clear the track of keyframes is to delete it. In other software, like Motion for example, you can also use a mixer synced to the computer to control layer parameters and effects in real-time. However, you can rid the layer of these keyframes should you decide you want to start over, and don’t want any lingering keyframes. I’ve mixed albums on automated decks in studios, and you could also reset the track to start over fresh.
It’s not a big issue, I just wanted to confirm that the only way to get rid of those keyframes is to delete the track, play the whole track through remixing, or go through and delete every keyframe by hand.
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Looks pretty straight forward to me as far as the concept goes… All the layers of text are 3D layers, positioned in 3D space, with opacity keyframes to turn them on at the right time. Then the camera is animated so it “follows” the text. Probably was a lot of time consuming work, but you should be able to mimic the effect if you want to.
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If you succeed in what you are trying to do, the way you’re trying to do it, the image is going to be very badly pixelated as you will be scaling it up quite a bit. This answer may seem a bit trite, but the best way to accomplish what you’re trying to do is to shoot it that way in the first place. Do you have access to After Effects?
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Let me guess, it was a Maxtor hard drive, right?
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Thanks Mike, but that’s not really what I’m after. What I want to know is that if I have an audio track, say a sound track, and I use the automated mixer to ride the volume, and/or I pan left and right, and then decide that the whole mix is not what I want, can I some how simply delete all the keyframes that I created by using the automated mixer? So far, I can’t, and even when I delete the audio from the timeline, the keyframes still remain on the track. I can of course, switch the automated feature off, but the keyframes still remain. I’m guessing that those keyframes are stuck there until I delete the track entirely, then create a new audio track and bring the audio file back in to the timeline.
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Couldn’t disagree with bogiesan more. I’d say just the opposite, that while most people get little out of the on-line manual, the “Creating Motion Graphics” series provide an excellent training resouce for how to really get into the inner workings of After Effects. If this weren’t true, then why are the Meyer’s books so popular? The on-line reference manual tends to tell you what specific features of After Effects do. It doesn’t necessarily put those features into a context that helps you understand how it works, when and why you should use it.
Another thing to avoid when you’re learning After Effects is “cookbook” instruction where you’re being told to enter in values to parameters without a clue as to why, just so you get a cool looking result in the end. If you really want to get good at the program, you’ll want instruction that explains how features work, and what the variables are. I started with the CMG series, and update as the new ones come out. They are excellent. If you find the first chapter in Vol 1. really tough going, remember its a “dive in” chapter, and you can just skip ahead to chapter two, and then come back to chapter one later. Good luck!