[David Bogie]

The freebie version of the CoreMelt for FxFactory uses stills only. If you want to use video in the coverflow effect you must purchase the retail version.

I’ve got to add that this free effect plugin for Motion or FCP almost perfectly mimics Apple’s coverflow preview display. to a fault. And that’s the problem. You don’t a chance to bring the image forward or to hold it in an unobscured position in 3D like you want to. It’s very frustrating in its lack of controls so take a few minutes to examine the coverflow display inside the OS so you can get an idea of the restrictions imposed. But it’s FREE.

bogiesan

[David Bogie]

Just looks to me like careful design and good planning.
I see nothing that would take any of the pieces out of After Effects but I see dozens of carefully constructed 3D precomps. You’ll notice that the individual scenes don’t last very long.
Splitting and spinning some of those images could have been done relatively easily with Card Dance and CD will talk to a comp camera.

One must wonder if the piece was designed by the photographer, an advertising agency, the store’s owner, or the store’s owner’s significant other. The music suggests it was not done by an agency.

bogiesan

[David Bogie]

All I can tell you is that we bring in audio regularly. We generally use AIF. I doubt it’s the application, probably something odd in the file. Try bringing in other standard audio formats like exporting something from FCP.

bogiesan

[David Bogie]

[chris gormlie] “Am I flogging a dead horse here trying to make PAfx do something it can’t, or am I missing something obvious in the workflow. “

We hit lots of virtual equines around here. Great fun. No one gets hurt, no blood is spilled.

All standard compositors act with flat 2D objects hanging in 3D space. We like to call it Screens In A Dark Garage. You can project stuff on the screens but that’s it, you can’t make the screens into 3D objects. True 3D systems are available for Motion and After Effects but they come in as 2D layers, or collections of layers; the only things Motion and AE understand.

If you need true 3d, you need a full 3d system. Then you’d use AE to do compositing and other tricks up- or downstream of your 3D system.

bogiesan

[David Bogie]

[John Mitchell] “Probably at the heart of all these problems is Quicktime “

That MUST be it.

bogiesan

[David Bogie]

If you do that, there will be empty lines where the filed used to be.
Deinterlacing filters usually have setting that allow you to do chose a filed to make disappear. They usually eliminate one filed and then fill the empty lines with the other filed, though.

Tthe old standby was to create a solid of alternating alpha lines, one pixel high and one pixel apart. That was practical in the ol’ standard def days.

I hope you get better advice over the next few hours so have some patience.
I’ll be interested to see what comes up, too , from the wonks.

bogiesan

[David Bogie]

Define slow.
J-K-L work fine for my needs.

bogiesan

[David Bogie]

Read the section in the manual on creating scripts for STP. Warning: it doesn’t work the way I think it should, your expectations might be different.
You can send the clips to the script. (That’s what they want you to believe.)

bogiesan

[David Bogie]

[walter biscardi] “I know there’s folks out there that would prefer to see me disappear, “

But whoever came in to replace you might not be as much fun.
congrats.

bogiesan

[David Bogie]

Most of these similar threads are preventable by getting everyone who is involved together and opening some manuals and doing some tests.

In every similar thread I can recall, the suggestions were to reshoot because, in the long run,that was going to be easier-faster-better looking, or to decide on the final output medium and then work backwards, conforming everything to that specification. Terrific issues come up when you start mixing frame rates because the look and feel of the modified footage is often distinctly different. One minute of video is still one minute but when you conform to different rates, you either throw frames away or try to create frames that did not exist. Expensive and kinda silly in this day and age when email is available and it’s universally accepted throughout known space that fixing it in post is more difficult and more expensive and more frustrating that acquiring it correctly.

Your audio files may or may not give you problems. You won’t know till you start adding them to the timeline. What did you give your audio guy? 30? Or did he just make up his mind unilaterally that 24 was the target?

bogiesan