Darby Edelen
Forum Replies Created
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That’s kind of what I expected. I was recommending you increase your particles/sec not decrease to 1 by the way =)
I think you’d have better results if you built your missile animation in AE instead of Flash. This would allow AE, and thus Particular, to be aware of the layer’s motion which would help a lot in making a contrail. You could make a pre-comp for your missile, animate its motion in the final comp and parent a spotlight facing out the back of the missile to the pre-comp.
This would probably work better for you anyway as using a layer as an emitter can result in particles emitting from any part of the layer.
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DPI shouldn’t come into the mix too much with video work, it’s something you only need to be concerned with when working in print… or scanning =)
As a general rule your assets for video work should be 72 DPI, but that doesn’t mean you have to (and you shouldn’t) scan them in at this DPI. When working with video you should be most concerned only with the number of pixels.
However, you can’t tell a scanner that you want a ‘1920 x 1080’ scan because scanners don’t know how big a pixel on a physical piece of paper is unless you tell them. That’s what DPI is effectively, it’s telling the scanner that every inch on the piece of paper corresponds to x pixels (where x is the DPI). So if you have an 8.5 x 11″ scan at 10 DPI you would end up with an 85 x 110 pixel scan (which would be pretty worthless).
You can’t get a perfect 1920 x 1080 pixel scan, as the aspect ratio isn’t equivalent to 8.5 x 11. But if you wanted to get close to a 1920 x 1080 pixel scan then you could divide 1920 by 11 and 1080 by 8.5 then make sure that you use a DPI setting at least as big as the larger number.
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[shroomly] “could this be because its a clip from flash? i’ve exported it out of flash as a png sequence…should i be doing something else?”
If it’s an image sequence it shouldn’t matter where it’s coming from as long as you have an alpha channel in there =)
Out of curiousity, try boosting the particles/sec property in Particular, from my own limited experience with using layers as emitters (I usually use lights) I have a suspicion that Particular handles layers in an odd way.
This is all conjecture, but it seems as though 100 particles/sec with a Layer emitter means something like “try to emit a particle at a random location within the layer’s bounds 100 times per second but only emit it if the layer is visible at that point.” So if you have an image sequence that is 720×480 but only a small portion of that is visible, Particular might be emitting particles at any point in the 720×480 layer but only those that are emitted at a visible location end up being particles. So if your missile only takes up 1/100 of the area of the layer you’d have an effective particles/sec of 1 instead of 100. Again, this is all conjecture and you may be facing a different issue, but let me know if boosting the particles/sec helps.
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[cathyralph] “My main concern is the that the bigger sizes will require bigger orignial drawings to be scanned-in – so I’m looking for the smallest option as I’m working with a 8.5 x 11.0”
I’m afraid I can’t answer your questions about HD as I haven’t started working with it yet, but I wouldn’t worry about the scanner. Most scanners are capable of ridiculously high DPI. So if you scan your image in at 8.5 x 11″ and 1440 DPI (probably excessive) you will have an image that is 12240 pixels x 15840 pixels and can then convert this to a 72 DPI image for video.
The size of your scanner’s bed only really matters in that you can’t scan anything physically larger than 8.5 x 11. But as long as your picture will fit on the scanner bed you should be able to scan it in at a resolution that will more than work for HD.
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[matthewgraphic] “is there a way to have a comp keep its transparancy?”
It took me a second to understand what you were asking here, as any comp will maintain transparency if it’s placed in another comp, but I think you’re asking about blending modes. In order to maintain blending modes from a pre-comp into the final comp you just need to enable the Collapse Transformations/Continously Rasterize switch on the pre-comp. It’s between the Shy switch and the Layer Quality switch and looks like a sun.
[matthewgraphic] “is there a way to precompse a group of things and keep all their original data?”
If you have some layers in a composition that you want to pre-compose you can do that by selecting them and pressing cmd-shift-c (ctrl-shift-c on PC). If that isn’t what you’re asking then I may need more specifics on what you’re trying to accomplish =/
Good luck!
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The only option I’m aware of that works sometimes is creating a new project and trying to import your corrupted one into it. I’ve had mixed results with this over the years.
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[yikesmikes] “You now have Roving Keyframes.”
Roving keyframes won’t keep the original animation intact, the keyframes will initially ‘rove’ so that the rate of change of the animation is continous. If you had keyframes that were very intentionally spaced for a sudden change in the rate of the animation then you’d want to avoid roving keyframes.
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Select all of the keyframes that you want to compress or expand on the timeline, then hold down opt (or alt on PC) and click either the first or last keyframe (depending on which way you want ot compress/expand) and drag it on the timeline.
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I believe they will be bundled with the final shipping version. I imagine it would be hard to convince the foundry and cycore to let Adobe release them with a free preview beta =)
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[hiostt] “Is there better way to do it than using black solid layer and adding mask to it?”
I don’t think so, that sounds like about the easiest way to do it =)