[David Bogie]

Have you seen a recent clip by OK GO?

https://www.youtube.com/watch?v=9H5bUxe3v9g&feature=player_embedded

Friend of mine worked up an elegant solution for Apple’s Motion, might work in AE, dunno.

Howdy,
The trail effect is easy: make a zero-speed particle emitter from your keyed footage. Set the particles so that they don’t play (i.e. each particle is a single frame), then you need to animate the source particle frame value at the same rate as the footage (i.e. at 30fps if the source footage is 30fps).
So, here’s a single particle emitter with a Rate parameter behavior applied to the source frame value: trails.mov.
If you want to be naughty, you can always make the emitter 3D and move it (and the camera): trails2.mov.
What makes the OK Go video so great (and it really is tight) is the artistic thought and execution: the use of patterned objects to wipe on textures, the constant changes in masking so that the various plates keep moving in-front-of and behind one another. As usual, technique doesn’t necessarily equal art (see morphing).

bogiesan

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[David Bogie]

Well, I’m offended that you don’t mean any offense!

Basically, you want to convert them to a conventional, full frame-based Quicktime format. It’s best to do that in the creating application but there are other ways to convert. You really need to understand the differences between the wrappers. Some eensie weensie Flash files can turn into huge video files once everything is rasterized.

bogiesan

[David Bogie]

[David Roth Weiss] “You’re absolutely right, the first choice for those of us, “in the know,” who work with HDV, would be to capture to an iframe codec before editing. However, without a Kona or BM card, “

Ah, I missed or skipped over any references to possible hardware support. That would make a huge difference, yes.
Thanks for the help on this point, David.

bogiesan

[David Bogie]

You want to contact the publisher of the template.

Even if they’re using “frames,” whatever that means, their background sequence consists of a finite number of them and if you change the timebase, it will change the number of their frames you see ina given increment of time, say, one second, and will increase the apparent speed. INstead of seeing a ball move across the screen in one second of 24 frames, it will still get there in 24 frames but what is showing in the remaining 6 frames? If the ball moves across the screen in 30 frames, their artwork only provided 24 images of the ball.

bogiesan

[David Bogie]

David,
You’re suggesting working in HDV live and depending on the Macintosh to process it in realtime?
I’m not going to suggest that’s not a good workflow, I don’t really know, never shot HDV (never want to) but I’ve been reading for several years that HDV should get converted to something more directly editable. Have I been reading all of those posts incorrectly? (Quite likely, I have zero experience with HDV so I could have been easily confused. That happens to me a lot these days.)

I do have a couple o’three suggestions for the OP.
Working with huge amounts of footage is nothing new. Documentary workflows are not secrets and there’s no reason to reinvent anything. Spend a few hours on Google and you should come across dozens of suggestions for managing your huge volume of documentary material. However, just because you have 200 hours of material doesn’t mean you have to capture and store all of it and remember what all of it looks like.
In the olden days, we’d burn timecode window copies to VHS and spend a few days working on a paper cut, deciding what’s crucial, what’s worth keeping for b-roll, and what we can easily file away as c- or d-roll.
Your camera tapes are precious. Be sure the producers have them carefully stored. Might want to make backup dubs of them.
Decide early on file naming conventions. Never use any of these terms in your filenaming: latest, final, best, current, new.
At every important juncture of the production process, increment your project version.
Be sure you understand how the autosave vault works.
Be sure you understand in your contract who is responsible for creating and maintaining backups of your project and exactly what the term “backup” means.

bogiesan

[David Bogie]

Adam, the problem with the Apple thread is it’s too long to bother with at this point.
You could start another thread that eliminates all of the nonsense and duplication and rules out what you think are not likely causes but there’s little we can do for you fro where we’re sitting.
Your situation is just too bizarre and unfortunate but we’ve given you everything we got. It’s up to you now. You take what’s been offered, process all of our suggestions through your intuition, apply a bunhc of gut feelings, go into rescue mode, and try to salvage the most important pieces that will keep your client happy.

bogiesan

[David Bogie]

I’d start looking for “how we made the spot” descriptions from Audi or their production company reps.
I can’t tell form your inquiry what you want to do and the Audi spot is nothing like what I thought you were seeking.
we’ve been drawing or applying stroke-type effects to video around here for many years, I would hope there’d be some tutorials on file to help point you in what may turn out to be an unexpected path.

bogiesan

[David Bogie]

Generally, MPEG4 will not play in real time. It is highly compressed and requires extensive processing before frames can be seen. You must convert your MPEG4 files to a more conventional codec beofre attempting to apply motion effects or even editing.
the list of compatible video formats and codecs is clearly listed in the sales pages for Motion 4 and Studio 3.

Don’t take this personally, we see this post often around here, but this was easily researched before you purchased your machine.

bogiesan

[David Bogie]

This is a very basic question and probably should be in the Basics forum.
You establish your output by using the complex options in your rendering and outuput modules.

Ae will render to any imaginable quality, you just need to know to set it properly. See the manual.

bogiesan

[David Bogie]

Yar.
Pretty easy to build a clock from the parts supplied with Motion. (I’m pretty sure, not at my Motion machine for a few days but I think there are clock parts in there.)
But I don’t understand why your speed adjustment didn’t work. To change a 60 second minute into a 240 or even a 300 second minute is a simple setting.

bogiesan