[Craig Ricker]

U solved this one for me in the other thread. Many thanks alex

[Craig Ricker]

Ahh many thanks. That makes complete sense. Though as I’ve done majority of my animations in 25p and there’s heaps less interlaced material maybe I should just use fcp deinterlace filter on the interlaced stuff. Everyone says bad things about that filter, but its never seems to look to bad for me.

[Craig Ricker]

Well it did make a difference. I got jagged edges on all straight lines, so it seems that it does make a difference. I had to use XML to change all upperfields to “none”. And this kinda fixed the problem. Though now I seem to see jagged lines on a computer monitor, but it looks aboslutely crisp on tv?

HMMMM…

[Craig Ricker]

Hey thanks for the tips. Just a last question.

If I just want to track say the nose of a face, and put text attached to it off to the side. The face moves say from left to right and I just want the text to float off to the side keeping the same distance from their nose.

Do I just:

1. Put a spline around the nose and just track in the translation, scale and rotation.
Do i just export transformation data? Or do I use a corner pin to create a text box essentially in mocha?

2. If I wished to track perspective to make it look like the text twists if the face twists slightly, do I simply just add in perspective.

So far even after watching liek 10 different tutorials on bringing mocha tracking data into AE i’m still not getting the results all these wonderful tutorial experts are getting.

Majority just dont follow, i’m not sure what i’m doing wrong.

I’m setting comp sizes up all the same, precomping text so its teh same size as comp etc etc.

All tutorials seem to be replacing screens on phones, which is not what i’m tryign to do.

[Craig Ricker]

So how do you exactly use it to do the above mentioned?
Is there a tutorial you can send me to? I have watched all of Steve wrights training videos at lynda.com and he never mentions its use.

[Craig Ricker]

OK got to work and tried it there on the Mac. Worked first time???? WEIRD!

The thing that isnt working now is the Red Giant corner pin effect. It seems to cause a jumpiness in the tracked layer. Where as plain after effects corner pin doesnt?

Also, whats the deal with the align layer of the planar surface, people do in Mocha before they bring it into AE? I didnt do this with my track data, and I was putting the data on a shape layer and text layer that I just precomped to the size of the composition.

It worked fine!

[Craig Ricker]

Hey Matt,

Ok So your experience with a DSLR was it had TC and reel, or you did what the other guys have done and used a program to add those metadatas to the DSLR footage?

Go Pro is much the same as a DSLR i’m assuming. Just makes clips with the name starting from 0. Each time the card is formatted the Go Pro starts again from 0, which is where I would hit problems as you mentioned.

So it makes sense now that i’ll have to add TC and Reel properties to the footage for any shoots longer than 1 card.

What software do you use to do this with Matt?

[Craig Ricker]

When you say FCP ideally needs TC/Reel info, why did the relink of the go pro files work for me? Am I just getting lucky? Or are you saying the more complicated the edit, the more chance there is FCP will screw up on a relink?
As far as I can tell, Go pro files have a TC its just one that is set back to 00:00 per clip. Thats no problem for me as I dont work of time code.

Even in my current editing job, we dont work of time code, just clapper, so it wouldnt matter there either if each clip had a time code starting at 00:00, unless of course we were doing multiple cameras at once.

[Craig Ricker]

Ok I officially just tested the go pro offline online idea. It worked completely fine as I thought it would.

I edited some in a pro res proxy, and then deleted that pro res proxy off the computer. I then reopened the sequence and it said these files are missing. I reconnected to the original h.264 and baam, all is good.

Now looking at go pro h264’s, they dont have a continuous time code. So each time a new clip is made it has a new time code from 0. This may be different on the Canon 60d i’m not sure. And if that is the case, then yes maybe i’d have to use another program other than mpeg stream clip.

I think though that compressor keeps meta data so I may not even need another program.

Seems pretty straight forward to me?

[Craig Ricker]

Whats the needed metadata that gets tossed? The timecode? I.e can fcp not reference to the new media cause it cant read its time code or something?

Does compressor keep the meta data, cause to be honest thats the one i’m gonna use. get all 16 cores working on the convert will chug it out in no time. (my work mac pro)

So proxy it is for the low res. And just standard 422 for the high rez, maybe even 422 lt, cause really that handles up to 100mbps and as much as I care about color correction, I dont care that much as my finals will hit youtube and vimeo and they cut the hell out of the quality anyhows.