Cornelius Henke
Forum Replies Created
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Well without it being bus powered what about something like this:
https://www.newegg.com/Product/Product.aspx?Item=N82E16822136307A Western Digital WDA4NC20000N 2TB ShareSpace Network Storage with Gigabit Ethernet. Wouldn’t it just be better to use a crossover cable and connect it directly to a machine?
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I have a 1TB external firewire 800 hdd that i will be using (it has two 7200 rpm 500GB hard drives inside linked as one). I purely use the laptop for when I choose to take a project on the go. At home I have a Quadcore mac pro with 4TB stuffed inside (1TB, and 3TB in RAID 0, with a backup usb 2.0 3TB hdd in a corner. I understand a some of the raid drives you are mentioning would be great, but then that defeats the purpose of mobile. I would have to find a plug all the time to work. Have any work arounds for that one?
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Ahh, that sounds like a good reason for why I am having these problems. I guess I will be using my Firewire 800 drive in conjunction with my mobile edits. Thanks I’ll give this a try immediately.
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bump
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Wow, umm. I would make sure that you parent your camera’s (the AE camera) Point of Interest to the layer with the greatest z-depth (back the farthest <-is that a word?) so that it gives the layers in front of it a 3D look it is also referred to as the Horizon. Andrew Kramer (videocopilot.net) has a video tutorial that may help you. Here: https://www.videocopilot.net/tutorials/virtual_3d_photos/
Without knowing 100% as to what you are doing I still recommend using scripts to space out your layers and organize them.
Lloyd Alvarez’s (aescripts.com) 3D_layer_distributor.jsx (you should make changes to the script itself using TextWrangler (if your on a Mac) to get the layers where you want them to.
& To organize (before / or after)
rd_KindaSorta.jsx
It will put the layers in order based on their position (extremely useful when working with so many layers).Lloyd Demonstrates these scripts here: (Links to download the scripts on the website below)
https://ae.tutsplus.com/tutorials/motion-graphics/cinematic-opening-title-redux-day-1/
and here:
https://ae.tutsplus.com/tutorials/motion-graphics/cinematic-opening-title-redux-day-2/ -
To keep the quality loss at a minimal I always export Quicktime Animation files, both out of FCP and After Effects (they can get pretty large). I have had problems working with H.264 in After Effect and therefore do not recommend it if you have the ability to export animation files. Or even export from FCP using “Current Settings” which will still be higher quality then H.264 and cause less problems for AE.
As for your wire removal… I don’t know what to tell you, at least CC Wire removal is working for you. Imagine if you didn’t have that.
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Yes, you are actually trying to do what is called “Match Moving” or “Planar Tracking.” Basically you want to track a shot – Make a fake camera that emulates your actual cameras movement (in this case a pan) and parent your footage to the virtual camera allowing you to put anything you want in the scene and have it act like it belongs there.
Mocha comes with CS4 and from what I am told is great. If you don’t have CS4 there is always PFTrack, Boujou, and more. You can buy any of them including older versions of Mocha, but they are not cheap. There is also what is sometimes called “2.5D Motion Tracking” If you buy Mark Christiansen’s book you can learn more about it (I think there is a newer version to this book).
Links below:
Book = https://www.amazon.com/Adobe-Effects-Professional-Studio-Techniques/dp/0321499786/ref=sr_1_3?ie=UTF8&s=books&qid=1239285853&sr=8-3Mocha = https://www.imagineersystems.com/products/mocha/
PFTrack = https://www.thepixelfarm.co.uk/products/products.aspx?PID=3
Boujou = https://www.vicon.com/boujou/
SynthEyes = https://www.ssontech.com/
I’ve used PFTrack before and had good results automatically from the Demo, but there doesn’t seem to be much “visual support (tutorials and such)” online. I had to learn how to use it by following their manual while tracking – It took about 4 hours more than it should have. I know matchmovers who use Boujou and live and die for it, but it has always been out of my price range like PFTrack. That’s why Mocha interests me the most and I can’t wait to get a hold of CS4’s Suite.
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Sometimes you have to change the mask by hand, if you go a few frames ahead or even a few seconds and change your mask at that point, over time the mask will move.
You may also want to watch this: https://www.vimeo.com/3031889Lloyd Alvarez demonstrates two scripts that might interested you. Go about 14mins into it.
Or you can google, Tracker2Mask & KeyTweak
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What version of Adobe’s suite are you using? AE7? CS3 or CS4?
Of top I know that CS4’s integration with flash is simple, CS3 isn’t bad, but I don’t know about AE7 (I think it is the same as CS3).
I know off top you should not be using the “Make A Movie” feature, if you are going to export .FLV’s or .SWF you should do it through the render queue.
Like the adobeLive Doc says, the content may be flattened or rasterize in the SWF file, well… you could always export your file from After Effects into something like an (I’m on a Mac) Apple Animation file and then convert it to SWF thereafter, which I tend to do on any project so that I always have a High Quality backup.
I’ve also been told things about .f4v files, but I don’t have CS4 so can’t give you exact information on that. -
I’m not an expert on this, nor close, but I have been in the same exact situation and seen it through until the end. I noticed two options, take the HD down to SD or upres (using InstantHD) the SD to HD. That soft Matte look you spoke of won’t go away if you upres the video, but it will look better then stretching the image and getting blocky artifacts.
Since my final project was going to be dumped down to a SD DVD I decided to take the HD to SD (It throws off the audience when it jumps back an fourth between the noticeable quality differences. But when editing (I hope someone will tell me the right way), I edited all of the footage in an a DV sequence with HD footage in it. (While editing) the HD footage looked odd because final cut pro had to squeeze it, but after I ran the final documentary through Compressor’s Best DVD settings, it look great and the average viewer couldn’t tell the difference between the HD footage vs. SD.I hope this helps, not an expert way of doing it, but I didn’t mind the extra rending time (minor) while editing all of the footage together. I’m sure you could even setup proxies in a such a method, but even with over 60+hours of captured footage I never had a problem.