Darby Edelen
Forum Replies Created
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Do you need the return value to change as the input ranges from 0 to 50 and 50 to 100 or do you want them to snap as the input value reaches each threshold?
Darby Edelen
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[Daniel Jschv] “Edit: ok i found a fix it seems… i activated the “sun-symbol” on the beam-layers. And it fixed it for the bad layers. The new and good ones are fitting also without the sun-symbol. Interessting. Someone an idea what the reason is for that?”
The solids you applied the Beam effect to were not the same size as the composition.
When using .toComp() you’ll get back a coordinate in composition space. For a layer’s space to match composition space it must be exactly the same size and orientation as the composition.
When you enable the continuously rasterize switch (the sun icon) it changes the render order of all effects applied to the solid. They are now rendered and applied in composition space after the layer has been transformed.
Darby Edelen
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Kevin’s approach is a great one. Another good option is to use the Median effect. Unfortunately Median runs quite slowly.
Darby Edelen
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Dave and Roland have already suggested mocha which is probably your best bet, but I’ll also take this opportunity to rant about stock videos with green screens. Many of them are poorly put together and show a lack of planning. In general I avoid them but when a client would like to use one I’d recommend encouraging them to check with you before committing to it. You’re in the best position to tell them what will or will not work.
Now, back to this particular video. If learning mocha requires too much time in this case then I’d manually corner pin the footage over the green, key the green then place the corner pinned footage behind the keyed layer. The corner pin doesn’t have to be perfect because the green key will define the edges of the video to be perspective correct and the edges are where any drifting or floating of the track would be most apparent.
Darby Edelen
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Effects are no longer in Layer Space when a layer has its continuously rasterize/collapse transformations switch enabled. Instead the effect acts in Composition Space. The easiest way to think about this is that the effect no longer looks at the layer’s boundaries or transformations, instead it acts in the composition’s boundaries and transformation space.
For example, if you have an effect that creates a radial wipe beginning from [0,0] on a source layer and you continuously rasterize that source layer the center of the radial wipe will now be [0,0] in the composition which is always the upper left corner, even if the layer is moved or rotated the center of the radial wipe will be [0,0]. Not only that but the starting degree of the radial wipe, if it’s 0 degrees, will always point straight up in the composition no matter how you rotate the layer.
While this may seem like a problem initially, it can actually be quite useful once you understand how it works. In your case, for example, you could enable continuous rasterization then place the center of the radial wipe at the center of the four layers (you could even use a Null object to represent the center of the radial wipe, link it by expression, and parent the 4 footage layers to it). Now animate the radial wipe on one layer from 0% to 100% completion over the duration you want the entire transition of all four layers to take. Copy this effect and paste it to the other 3 layers.
Alternatively, use an Adjustment Layer to do the above. It would actually be simpler in this case but you wouldn’t get the same insight into how continuous rasterization works 🙂
Darby Edelen
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That effect is part of the Frischluft Lenscare package:
https://www.frischluft.com/lenscare/
Your options are either:
1) Purchase the plug-in. Perhaps if the person who supplied you with the file has a vested interested in you being able to use this plug-in they will help you purchase it.
2) Replace all instances of FL Out of Focus with a similar effect like Camera Lens Blur in CS5.5+. The feature sets are not exactly the same and the results will be different, but it may get you “close enough.” You’d also have to do all of these replacements manually. I’d recommend saving a copy of the project file before doing this.
Darby Edelen
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It sounds like Corner Pin may not work for you, but it’s the first thing that comes to mind. CC Power Pin may work better.
You might get better results for a triangle by setting one of the 4 points of the corner pin to the average of the 2 nearest points. This will place that pin exactly at the center of the other 2 and prevent the pinching (or other odd behavior) you might get at the corner when setting two points equal to one another.
So, for example, set the Bottom Right pin to the average of the Bottom Left and Top Right pins: (Bottom Left Position + Top Right Position) / 2.
You might also consider using CC Power Pin on a comp sized solid and enabling the continuously rasterize switch. That may increase processing overhead some but it should help keep the edges clean.
Darby Edelen
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I’m not sure that I’ve understood exactly what you want to do but in general you should be able to put the audio in its own composition where you can edit it and then place that composition in any comp where you need that edited audio.
Darby Edelen
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3.75 seconds is an odd way to define the length of a video.
Durations in video are generally measured in Hours (H), Minutes (M), Seconds (S) and Frames (F), time code is in the basic format HH:MM:SS:FF. As a result there is not a straight forward way to enter the number of seconds in a decimal format in AE.
Instead you need to determine what the frame rate of your video is and convert the fractional portion of the seconds into frames. So, for example, when you say 3.24 you are most likely referring to 03:24 meaning 3 seconds and 24 frames. On the next frame it advances to 4 seconds, which I’m guessing means you are working at 25 frames per second.
So .75 seconds or 3/4 of one second would be equal to 25 frames per second * 3/4 seconds = 18.75 frames. Unfortunately you cannot have a fractional frame (one frame is the smallest unit) so you either need to move to a different frame rate or choose the closest whole integer frame value.
One option is to leave the frame rate at 25 frames per second and make your video 3 seconds and 18 frames long (so that it fits just under the 3.75 limit).
Alternatively you could change to a frame rate that evenly divides into 3/4 (0.75) such as 24 frames per second (24 * 3/4 = 18) or 60 frames per second (60 * 3/4 = 45). Personally I’d go with 24 if there are no frame rate requirements as there will be fewer frames to render (it will render faster than 60 frames per second).
Darby Edelen
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[Jason James] “I already have checked my interpolation as being linear.”
You haven’t said which interpolation you’ve set to linear though: spatial or temporal?
Darby Edelen