[David Bogie]

Yar, I get that, too.
I’ve decided Share is useless so I don’t even bother with the menu any more.
Someday they’ll fix it, maybe.

Be sure to fill out a form and drop it in the FCP FEEDBACK folder at apple.com.

https://www.apple.com/feedback/finalcutpro.html

bogiesan

[David Bogie]

[Scott Sheriff] “Can’t you ‘tear off’ the tabs you want to view simultaneously and place the resulting new ‘windows’ side by side?
“

Yar, I was going to post the same thing but I tried it and discovered you can’t play them at the same time.

And to the OP, welcome to the family. You’re going to love FCP. You’re going to hate FCP.

bogiesan

[David Bogie]

[joe jukes] “when you say precompose the window object with the walking person in the same comp, what do you mean. “

Ah, sorry.
Your gobo, the object in front of the light that is casting the shadows, can just as easily be a composition as it can be an object or a layer. Select the window thingy, got to layer>precompose. This will replace the window object in your timeline with a new comp. Now you’re going to add your walking person to the window comp ad not to the main composition. See? the window comp will now have your window layer AND the walker in it.

Precomposing is not a no-brainer, there are some weird things that happen and it takes practice to enjoy precomposing without thinking about the operation. Precomposing, or sometimes it’s called nesting, is the solution to almost every oddball layer stacking, render pipeline, and complicated effects situation.

Go slow, post often, use the AE BAsics forum, and try to be patient. I’ve been using AE since v1 and there are things I’ve never tried and tools I’ve never used.

bogiesan

[David Bogie]

Hope you can help him Zak. We’ve been patiently trying to get Mark to tell us what the real issue for several days over on apple.com. We cannot get enough information to assist but we do get attitude that may be a translation or cultural issue. but our experience on the Apple Motion forum is most such posts are simple user errors or unfamiliarity with the Motion and Quicktime flow. for instance, he seems to be attempting to render to H.264 directly from Motion which, although it might work, is setting oneself up for trouble.

> I’ll try to sort out this myself.. cause it seems like you’re too much of a pro..
For your own interest i know a lot about this sector and don’t just start saying nonsense. If you know much more than me about video and Motion you surely know less than me how to communicate with people. <

Attempting to read between the lines of his incomplete posts, we conclude he is attempting to force flawed workflow, rendering to an imporperly formatted FAT drive, or a full drive. We just can’t get Mark to answer our questions without him assuming we know everything about him, his project, his computer, and his level of competency.

Here’s my last post to him:

> Is your external drive formatted properly for HFS? What is the size of your file when it stops? H.264 is not a good export format from Motion, it consumes huge overhead processing that can interfere with rendering. Try rendering to a more conventional production format and then exporting that rendered movie to H264 using Compressor. <

bogiesan

[David Bogie]

[Will Granzier] “Thnx Guys that one really helped out – Shot Some surfing in Cape Town SA and it was a tad over cast – Had to use a long lens 70 optical to get the pictures so some shots were a bit grey. “

Underexposure is easily processed using the scopes and any of several different filters. The important part of the flow is the objectivity of the scopes. Which filters you use is subjective.

bogiesan

[David Bogie]

[joe jukes] “Unfortunately, all this did, when i pressed play was make all the rooms walls rotate and come apart and randomly change colours. “

Can’t help you there.

Precompose the window object and place your walking person object in the same comp.

bogiesan

[David Bogie]

What’s that distributed engine called, Nitro, Atomic Waste, Embolism, something like that.? It’s highly regarded.

bogiesan

[David Bogie]

HAs this ever worked for you at all? In previous versions of anything?

Your best get will be to google the camera model and slog through the thousands of hits you may get. There are hundreds of cameras, dozens form Canon alone, no one knows ’em all.

bogiesan

[David Bogie]

I have no patience with this kind of post.

You don’t need more RAM. You need to comprehend After Effects and how it works and then you must learn to work within the reasonable limitations of real-world, single machine computing.

There are probably 400 of your 500 layers that can be pre-rendered as movies and reimported and thus eliminating tons of processing overhead you do not seem to think you can afford and yet you have deliberately designed your project to surpass your hardware’s capabilities.

Motion blur effectively doubles or triples the render time for every frame; double this again if you’re rendering fields. Multiply it again if the camera is moving.
3D effectively multiplies single frame calculations by 6 to 9 times, more if you have shadows and lighting. Much more if you have depth field activated on the camera.
Nested precomps must be completely drawn within the machine and cached as they are handed downstream tot he enclosing nests and this is the place RAM will help you since every one of your 3k frames is being written to virtual memory on disk several times and disks are thousands of times slower than hardware RAM.

bogiesan

[David Bogie]

The approach to the effect is determined by your budget and your need to satisfy your stylistic direction. It’s not exactly something you create in After Effects so much as composite.

Do you need the final shot so simply wipe into place or do you need the volume of hair to appear to grow? AE does not have volumetric evolution, you can pile particles but there’s no way to make them appear to exist is 3D space as you move the camera or the head, which amount to the same things.

If I were approaching this, I’d be contemplating 90 frames of painstaking rotoscoping since I have no desire to be forced to learn a hair generation system in a 3D modeler. Or, of course, I’d hire someone who already has that experience.

bogiesan