[David Bogie]

I only know of one way.
You will have to recreate the clip form the original material, export it (do not use reference for stuff like this, stuff that will be moved around) and then bring it back into your project. Giving it the exact same name might work, might not.
If it doesn’t reconnect, you must tediously extract each dependent clip again. This can often be done by cutting timecode values from the empty clip and pasting them into the in-outs of the clip in the Viewer.

You can also try to figure out what happened, why your media has dropped offline. This is usually the result of renaming a file at the Finder level (which breaks the link to the clips), moving it or mistakenly thinking Media Manager would not destroy it.

There have been many threads about relinking media so be sure to search for additional help. Also, please come back and close the thread if you figure it out.

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

Tell me again what you need to know.

The Web is crowded with lots of 3d information, it’s a remarkably cool niche for both still and motion producers. You can find what you need, it may take a few hours. The 3D releases of Monster House and Polar Express have extensive geek documentation available. I haven’t read it.

Creating a 3d movie out of AE is relatively easy. You create your stereo camera pair, parent them together and make two rendering passes, one from each camera. Determining the interoccular distance is a question that you answer after your decide on your release medium and doing extensive tests. “Reality” for 3D is a compromise.

Forget the red/blue method. Works, for sure, if you have r/b glasses to hand out or are working in stills. But it works best as an effect to simulate the viewing of 3D. It’s a convention, like using a double circle matte to simulate looking through binoculars.

Polarization depends on filters over the projection lenses and glasses. There are field-shutter glasses that require each eye’s view to be interlaced.

It’s a great topic, tons of fun to work on and the discourse on the Web is weird.

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

This effect is much easier if you have an empty shot for the background instead of the one from which you have cut the subject. Wedding shooters do this often. Shoot the bride against the church, cut the bride out of the church so she’s on her own layer. Carefully fill the hole with carefully created clones of the adjacent pixels.

Easier if you just shoot the church without the bride.

We’d call this using “a clean plate.”

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

Deleting the camera will default to the front view, yes.
However, you cannot move it around like you can a camera.
The better solution is to learn how cameras work.

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

Kids.
Why, when I was running CoSA (AE’s ancestral code) we’d wait a weekend to see ten seconds of one effect on one layer.
While I understand your predicament, I have no sympathy at all. This stuff takes time. And good work takes even more time. Period.

Growing up with AE on ancient machines taught us olde timers how to economize. Pre-rendering at lower rez and using proxy elements that can be made into movies instead of being processed live in the timeline are two of the major timesavers.
You do not need to preview HD material at full rez to get the feel for motion effects. You only need to see very limited frames of HD material to demonstrate look and feel and end results. You get used to thinking in terms of planning your render pipeline. Anything that’s golden (that is not 3D) can be prerendered. Anything that can wait can be proxied with a lo rez version.
Aside from that, your client either needs to understand the existing process or pay to work on bigger, faster, dedicated systems.

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

There’s not much new under the sun.
AE will not do this for you in real time.
Start researching the tool for video disk jockeys. Tons of cool real time image manipulation and filtering stuff in that niche market.
None of it is anything I’d call “new,” though.

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

Do you mean like those sequences where thousands of still images create a pointilistic mosaic that eventually resolves into an image? Rather 20th Century but there are several old plugins that will do that if you have a database of images large enough to satisfy the pointilism filter effect. Shoot, I cannot think of a single product, though. I cannot even recall the generic name we eventually applied to this family of effects.

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

Using transparency to create a fade is dependent upon the underlying layers and some effects that modify alpha channels. You may be able to simply precompse the layer, place a black solid under it and create your fade in the upstream comp.

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

The term randomize doesn’t sound applicable here. Define your desired result a bit more.
Or just go buy Digital Anarchy’s 3d Assistant set. I think it’s what you think you want.

https://www.digitalanarchy.com/3Dassist/3Dassist_main.html

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

> Hi. I was told that when you double click on a specific shot, only that shot is affected when you zoom in. I think I worked on a shot after hitting the “F” key for match frame, and it seems that my entire project is now zoomed in. I’ve tried hitting Apple A to highlight the whole timeline and then reverse the change. I’ve tried changing individual shots that I see are at 200% I change them to 100%, but it doesn’t stick. < This sounds like you have set the viewer and canvas to larger window sizes and not applied scaling to the clips. bogiesan This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”