Dave Johnson
Forum Replies Created
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One of the COW regulars has done this for me. Thanks for reading and sorry there’s no way for me to delete the thread.
I’m video producer/editor/motion graphics designer so it’s important for me to keep my computers clean, which is why I was trying to avoid the install and uninstall demo version approach.
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One of the COW regulars has done this for me. Thanks for reading and sorry there’s no way for me to delete the thread.
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Thanks so much Walter.
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The simplest way is to trim the layer to length you want … put the playhead at the inpoint you want and hit “ALT [” on your keyboard, then put the playhead at the outpoint and hit “ALT ]”.
You can also keyframe effect settings for a less abrupt start and stop, but I don’t recall off-hand which parameters to keyframe on the lightning effect to get it to go from and to nothing. Even if you do that, it’s still best to trim the layer to the needed length.
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You might want to take a look at this recent thread:
https://forums.creativecow.net/readpost/8/1098672
It’s been many years since I’ve worked on an Avid so I can’t help beyond pointing out that new tool that seems to make FCP/Avid round tripping easier.
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Yep … I do AE work by reading data from and/or writing to external FW800 drives all the time and never had a problem. Not sure how easy it’ll be to find a FW800 expansion hub … perhaps just use drives with more than one port and chain them together … I like these:
https://maxxdigital.com/shop/index.php?cPath=133_62
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I didn’t use the term rotoscope because that’s not what I meant …
As others mentioned, what I was getting at by suggesting “loosely masking out everything except the shirt” with a “feathered garbage matte” was a way to change the shirt color without noticeably changing the whole shot, but also without doing a fine-point roto. Since we all have some red hues in our skin, if you use cc filters on an entire shot to change a red shirt to blue, there’ll be very noticeable change in the model’s skin tone, along with everything else in the shot. With a feathered garbage matte, the matte protects 90% of the shot from any color change and the feathering blends the other 10% with the original shot making the slight changes around the edges of the matte unnoticeable in many cases (ie, the edges where the model’s arms meet the shirt, etc.).
This method isn’t suitable for any shot in any circumstance, but I based my suggestion partially on the assumption that, if you were doing a Calvin Klein spot for CBS prime time, you would’ve either shot the model wearing different color shirts, with a chroma-key shirt, planned to roto, or planned some other method.
I hope this helps.
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Duplicate the footage layer, draw a feathered garbage matte on the top layer loosely masking out everything except the shirt, apply to the top layer whatever combination of color correction filters suits the footage (Change Color, Change To Color, etc.), keyframe as needed.
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Especially in AE projects with hundreds of layers, grouping layers, pre-composing and pre-rendering as much as possible makes life much easier. And, by all means, save and back up your work often.
You could re-name and re-link files. Or, just rename the layers within the AE timeline without changing file names or re-linking. Both are time-consuming and tedious, and there are pros and cons to each, but either will make working with them in AE faster/easier.
[Nicholas Dean] “I really wish that we had put some more though into this before we jumped in”
I consider what you allude to there to be the single most valuable thing I learned in the early parts of my career … for both the shoot and edit stages of any production, thoughtful planning up front always saves tons of time, money and headaches on the back end … and garners better results.
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Yes … that’s possible and I believe it’s that way by default so you should be able to just do it. With 345 layers it seems very likely many of them are overlapping so that’ll make it hard to know which one you’re selecting.
You’ll want to be careful working that was since it’s very easy to move or otherwise adjust layers without realizing it. It might help to turn on the show layer handles in the viewer options (little triangle at top right of comp viewer).