Darby Edelen
Forum Replies Created
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However, if you continuously rasterize a layer then the TRANSFORMATIONS stage occurs before the EFFECTS.
This can be useful for effects such as Set Matte where you don’t want the matte to travel with the layer’s transforms. Of course most footage items don’t expose the continuously rasterize switch so this often requires precomposing the footage.
Darby Edelen
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The displayed color values do not necessarily correspond to the internal color values. Check the color display options in the info panel and make sure they’re set to Auto or floating point (location and name of options is from memory so may be inaccurate).
Those display values apply to all effects as well.
Darby Edelen
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[Xavier Bonet] “Is there any way to manually edit a keyframe’s velocity in the Graph Editor in a detailed, subtle way? Other tools allow you to hold the CMD-key in order to make subtle changes. But as I’m pressing every key I can think of, each time I move around the little “vector arm thingys” for the influence, the changes re just too dramatic. Plus, I can’t find a way to lock the speed and just move around the influence.
Yes, I could just right-click and go to Keyframe Velocity and input the values I want… but is there no way to do it manually. If there is, I’d like to learn it; it’ll surely be quicker than having to open up a dialogue box, input values, see if the result is what you want, open back up, tweak values, etc., etc.
Thanks!”
The line representing a keyframe’s influence can extend from 0% (the line starts and ends at the keyframe) to 100% (the line starts at the keyframe and ends halfway to the next keyframe). Because these percentages are based on the display distance between keyframes in the graph editor the precision you get with two keyframes that appear far apart is higher than two keyframes that appear close together.
You can use this knowledge to improve your precision by zooming into the graph editor. My favorite method for zooming in the graph is to hold alt-Z (opt-Z on Mac) and left-click drag left and right. You could also hold Z and draw a bounding box around the influence line.
I don’t have a solution for locking the speed of the keyframe when you’re making these adjustments. I will say that I gave up on aiming for ‘precise’ speed and influence values a long time ago in the graph editor. I find I can iterate faster and actually get better results if I don’t look too much at the numbers and just look at the resulting graph and motion.
Another quick tip: in the graph editor you don’t need to right-click the keyframe and select a menu item to get to the keyframe velocity dialog. Just double-click the keyframe.
Darby Edelen
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I’ll start with the obvious: you have a region of interest defined?
Darby Edelen
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The only thing that comes to mind is to check the small eyeball menu below the graph editor and make sure that they’ve selected the correct properties to show in the graph editor view.
I believe the default setting is to have “Show Selected Properties” and “Show Graph Editor Set” enabled. If only “Show Graph Editor Set” is enabled (or none are enabled) then it’s quite possible that nothing will show up in the Graph Editor since properties have to be manually flagged to show up in the Graph Editor Set.
You might also try clicking the “Fit All Graphs to View” button if the above still doesn’t show any graph curves.
Darby Edelen
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There is no easy way to accurately transform the perspective projection. The 360 photo/video’s content does not include any depth information; only directional information (i.e. latitude/longitude only). If the image is projected onto an infinite sphere (which is the standard) then translating the camera has no effect on the image. If it’s instead projected onto a sphere with some defined radius then translating the camera distorts the projection and gives you incorrect perspective.
If you want a larger field of view then you need to increase the camera’s FOV (decrease the zoom).
Darby Edelen
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Have you checked it using the difference blend mode? I doubt it’s 100%. Maybe better than 95% but given the nature of sub-pixel interpolation I dare say it’s nearly impossible to have a 100% match using a corner pin.
Darby Edelen
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Do the nested compositions all have continuously rasterize enabled or only the top level? Are the time remappings modified from their default?
If you have a very specific setup in mind it’s probably best to share that setup here as an aep file.
Darby Edelen
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There should be no negative impact in only switching from 8bpc to 16bpc. Some effects are not supported in 16bpc and 32bpc, they will appear with exclamation points in the effects panel. These effects render in 8bpc so some of the benefit of the higher bit depth is lost, but it shouldn’t look worse than it did in 8bpc.
If you switch to 32bpc (floating point) then it’s possible to have values outside of the black-to-white range and so the look has the potential change dramatically.
Linearizing the working color profile is an option in the project settings. For pure motion graphics work this is largely unnecessary, but for compositing work it makes it possible to create more physically accurate effects and composites. The explanation is involved, but suffice to say that a linear profile more accurately represents light in the real world.
Darby Edelen
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The easiest thing to do might be to smooth() the incoming property. This will also have the effect of diminishing the peak, but you can counter that by scaling the result of the smooth by multiplying or using the linear() function.
Darby Edelen