Darby Edelen
Forum Replies Created
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[zowie repoza] “Where you lost me was the part where you said “drag one of the channels down to duplicate it and create an alpha channel.””
That’s because it’s one of those less exciting rarely touted features (;
You already found the button you need to use, but PS doesn’t explicitly tell you that you can use it to duplicate a channel as an alpha channel.
Try dragging one of the channels, preferably whichever one has more contrast between the foreground and background, onto the ‘Create new channel’ button. This will duplicate the channel. Once you’re working with that channel you can use any adjustments or filters available in PS (in grayscale) on that Alpha Channel.
Once you’ve got that Alpha looking good you can use the ‘Load Channel as Selection’ button or ctrl/cmd click the channel thumbnail. Then using this selection go back to your original layer and use Layer > Layer Mask > Reveal Selection.
Good luck! =)
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[R Summerfield] “Apparently Premier Pro 1.5 has a problem processing high res photo’s and such.”
300 DPI is a high print resolution, but video isn’t expecting anything but 72 DPI*. To have more resolution to work with you’d want to leave the DPI at 72 and just make the canvas bigger (e.g. 1440×960).
*DPI is dots per inch. The resolution of a printed asset is based on the number of dots the printer spits out on a square inch of paper. However, on computer monitors and video displays the number of pixels (possible places to put color information) has an arbitrary relationship to the size of the display in inches. An NTSC display has 720×480 pixels regardless of whether its a 10″ screen or a 52″ screen. You don’t use DPI when working with video.
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Ouch… If the hair is only there for a frame or two then the clone tool might give you okay results. But I’m tellin’ ya, I saw mokey in action at NAB and it would make quick work of this.
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[Dave LaRonde] “FCP CAN NOT do what you hope it can do. The editor can’t simply paste clips at one frame rate into a timeline with a different frame rate. Doesn’t work that way.”
At least not until Final Cut Pro 6 =O
…Apparently: https://www.apple.com/finalcutstudio/finalcutpro/support.html
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[barry the cat] “Heres the first problem: even with all the material options like accepts lights and casts shadows on, there are no shadows.”
What type of light are you using? Where are you expecting to see the shadows (from the text, on the text, both)?
If you’re Collapsing Transformations on the 3D pre-comp then you’ll need to put your lights in the final comp. This is just due to the nature of the way AE handles the ‘Collapsed’ comp.
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[dhenion] “A true real 16 bit number goes up to 65536, not 32768.”
I can’t imagine why, but perhaps Adobe used a signed integer instead of an unsigned one. I remember having to get my head around the whole ‘there are 65536 numbers in a signed 16-bit integer but only half of them are positive’ thing way back when I was taking programming classes… I don’t know why there would be such a limit on colors but I’m guessing that there’s a reason for it and it probably has to do with the way that AE composites colors.
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Black is fully transparent in a layer mask, you’re working with a black background… does this give you any ideas? =)
The only problem is that there are 255 levels of non-transparent in a mask (dark gray to gray to white) so you’ll need to use a levels adjustment to blow out these parts and make them white.
Curious, where did you get this image?
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I think you might want to look at Mokey from Imagineer Systems (https://www.imagineersystems.com/). Any way you cut it it’s going to be a pain in AE, Mokey would make it a lot easier although not necessarily automatic!
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[Matthew Keane] “Is there a plug-in which would average out the blue channel over a few frames, so that the flickering would be reduced? What other solutions might work?”
I think you’d still end up with some odd looking footage, but you could try duplicating the layer and setting all of the RGB channels on the duplicate to Blue (Using Shift Channels). Put an echo and maybe a light blur on this ‘Blue’ layer and then use Set Channels to make the original footage use the duplicate footage as its blue channel.
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[chris_zapolski] “I think that expression could be a solution – but to what property of audio layer have I link the scale to?”
You’re headed in the right direction. There is a “Convert Audio to Keyframes” command somewhere in the menus that will create keyframes that correspond to the audio’s levels (these keyframes don’t actually do anything when you change their values, but you can reference them with expressions).