Chris Wright
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Audio Coin
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COW Coin
Forum Replies Created
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These methods work for me to fix my systems. Hopefully they help you too.
opengl won’t work with all graphics cards, so some AE users disable it. google opengl or wiki.
if uninstalling and re-installing and removing the trapcode plugins from the effects folder doesn’t work, then download microsoft’s free Windows Install Clean Up
https://www.softpedia.com/get/Security/Secure-cleaning/Windows-Installer-CleanUp-Utility.shtml
and remove cs3 because your installishield might be corrupted, update InstallShield wouldn’t hurt too.
https://consumerdocs.installshield.com/selfservice/viewContent.do?externalId=Q108322&sliceId=1
You could also try manually removing cs3 reg settings as a last resort, backup registry first though!
If you get past the mediacore crash and a plugin still locks up your project, to open the project with the bad effect,
“just turn the caps lock key on prior to opening the bad project. this will disable the preview update when the project opens, which will effectively disable the rendering of the effect, allowing you to go in and remove the effect form the comp.
once the effect is removed you can hit the caps lock key again and work as normal, perhaps saving first ;)” (kevin)
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The good news is, if you just want to white balance all the cuts together and just use a gentle master gain control on the clips, they won’t be damaged for frames plus. Overall color tints will likely ruin its deinterlacing quality because it won’t “see” where the edges are. Use MB Looks or a final “look” as a final step. Good luck to you.
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Magic bullet makes it very easy to decide the right way to do it. If you color correct b4 frames plus, frames will freak out and not deinterlace very well. Keep in mind it uses fuzzy math with original colors to know what to do. You can create a sub comp with both plugins and have one selected in each comp and do a screenshot to compare. You’ll be surprised at the results of doing things in the right order. Also, green-screening is same rule. Key b4 you deinterlace.
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remove preference folder should do the trick, they often get corrupted and do weird things to preview windows and templates etc and since you’re using Tiff’s, DO NOT use LZW compression, it is not lossless, uncheck that option and use 32 NOT 24 bits, which is only 8 bits/pixel. 🙂
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Compare AE’s fields off with fieldskit, algolith, magic bullet frames, in a side by side comparison. Each has strenths and weakness depending on your footage and price range. I use algolith.
The animation might be 24 or 23.976 fps and your video might be 29 fps, so twixtor it out or work with different framerates.
Key the footage before you deinterlace and finish on web in Sorenson Squeeze.
Use Tiff 32 pixel no lzw or some 10 bit video codec so you can export without color loss using color management described here.
https://forums.creativecow.net/readpost/2/944346 -
Today’s high-def broadcasts are done in either 1080i or 720p, and there’s little or no chance they’ll
jump to 1080p any time soon because of bandwidth issues and Blue Ray is interlaced format too.What happens when you feed a 1080i signal to a 720p TV?
The 1080i signal is scaled, or downconverted, to 720p. Nearly all recent HDTVs are able to do this.What happens when you feed a 1080i signal to a 1080p TV?
It’s converted to 1080p with no resolution conversion. Instead, the 1080i signal is “de-interlaced” for display in 1080p. Some HDTVs do a better job of this de-interlacing process than others, but usually the artifacts caused by improper de-interlacing are difficult for most viewers to spot.AE’s deinterlacer is very poor quality compared to other methods, hardware based or third party tools.
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This has painting, watercolor and is free. very editable interface.
https://compression.ru/video/cartoonizer/index_en.html -
its greyed out if file->project settings isn’t setup.
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The cheapest and most effient way to do this is use photoshops’ Adobe gamma in control panel, adjust each red, green, blue, and save the icm file at gamma 1.8(mac) or 2.2(win) gamma, then setup AE with color management, preferably some linear d65 type at 16bpc or close gamut. Interpret your incoming footage as correct color types then just use display color management, then view-> simulate output for the color management you want to see, for instance, 2393 would simulate a film output. Color grade from there. You could also use utility-color profile converter to convert a master pre-comp to a whole new color management type that they want. It’s called a burn-in.
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load Luts or use color calibrated monitor profiles, if using profiles, ignore luts inside color correction software, if using luts, use the lut preset you have assigned the monitor. remember to keep gamma, linear, and color management workflow constant and you’ll keep pipeline perfect.
best info ever here.