David Bogie
Forum Replies Created
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My favorite way of explaining this to newbies is to encourage them to place their clips on top of each other and to keyframe transparency of the top layer from 0-100. This illustrates the need for handle and how they work. Once that is understood, moving the clips to the same track and applying other transitions is easy.
bogiesan
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[Mark Morache] “There’s gotta be a better way to handle a clip with a timecode break. “
There is but it’s based on figuring out what’s wrong. Could be a head alignment issue on your camera, a mismatch between the heads on your camera and your playback deck, bad tape. Drifting audio is not possible with conventional DV. You’re not shooting with a Canon are you?
One answer: Capture manually using non-controllable device.
Another answer: make a dub of your tape and capture form the dub.bogiesan
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It’s amazing how many times every day, “You need to buy Particular” is presented as the answer around here. For $400 you can put a huge tool in your quiver, no doubt. I wish my boss would buy Particular for me, too, but, over the years, I’ve managed to figure out hacks and workarounds for just about everything Red Giant’s tool can do or, in many cases, I simply redesign the piece to meet lower and more realistic expectations of what After Effects can deliver out of the box.
bogiesan
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Is this bothering you just because you can’t figure it out or is this a real problem?
bogiesan
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I’m not following you at all (What are you keyframing?) but I can suggest something from the audience’s perspective.
We don’t expect the footage in the window to be any better than the footage of the window. Your footage that appears on the phone, whatever its source, must be degraded to look and feel much worse than the footage of the phone.Try using Posterize Time to change the frame rate of the higher rez footage without prerendering it.
Hope you get better help over the next few days but that’s what I know.
bogiesan
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Your rental studio should have an experienced green screen gaffer or shooter. Exploit them.
As noted by others, practical effects and props are superior to fixing it in post in After Effects. AE is a compositor, not a miracle factory.Your mention of needing to carefully key hand motion suggests you should be choosing your shooting format very carefully. You must do extensive tests with your tape/digital format and your chosen keyer long before you start spending money on props and actors.
You won’t be replacing your props by keying. You’ll be using motion tracking and that will require several more days of experimenting and research to learn how to use tracking dots and talk to the software. There are two choices now, Mocha and AE’s native tracking tools. I’ve never used Mocha myself.
Links to just about everythinn you want to know about Motion Tracking in AE:
https://help.adobe.com/en_US/AfterEffects/9.0/WS3878526689cb91655866c1103906c6dea-7c5ea.htmlbogiesan
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You basically start with the manual on page 1 and move ahead. It’s not the machine itself. You could have all kinds of Macintosh-related issues going on, impossible to tell from where I sit. Do any other applications show symptoms? If not, your install is botched but that’s so unlikely if you know how to run a Mac.
Welcome to the family.
Most AE problems are solved by understanding the order of operations and knowing that the installation was done properly. I’ve been using AE since v1, never had your issue show up personally but wee see similar posts often. Usually end up being simple user errors or weirdly corrupted expectations.
I’ve never used your camera but be sure the media is in a form QT can use without decompressing on the fly. HDV is bad.
bogiesan
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Do these flashes occur at the exact same frames each time you render? If so, it’s your media. If not, it’s still your media, likel;y. What format is the source media? I’m guessing it is HDV.
bogiesan
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[johnsabbath d’urzo] “Just wondering for broadcast and blue ray is DVCPro HD a good formate to work with? would I be able to deliver a 1280×1080, how would i deliver this to a broadcaster? what kind of tape. “
You can’t deliver HD on any tape format you probably have at your disposal and a broadcaster (which is very broad term) cannot likely play from Blu-ray. What you need to do is find out EXACTLY what they want you to deliver, codec, frame rate, frame size, audio sampling rate, and file format/container. Then you will try to figure out how to get it to them.
If they want tape, you will have to figure out what that means and then find a tape machine that will work. But outputting from FCP to HD tape is a BIG problem, start searching for helpful tutorials and discussions now. Could take you several days to figure it out and several more to obtain the gear and then run tests. Give yourself lots of time to make changes and corrections. You will not get it correct the first time.If they want files, you will hand them a DVD-ROM, not a DVD.
bogiesan
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[Fernando Honesko] “We are shooting all the stills with a SLR in something around 3888×2592 to create the animation in a cool quality and also to be able to resize it and control what’s in the scene. “
Fundamental misunderstanding of a suitable workflow. You should be expertly deciding on your framing and movement in the camera like a cinematographer, not making it up in post production.
Shooting on an SLR can be a total disaster. You must carefully and expertly determine your exposure and not change it. Your focus points and depth of field must be expertly determined.
Since the best HD video is only about 2000 pixels on the wide side, shooting at almost 4k is sucking up 3 times the storage space and processing time than you really need.
I wish you all the luck but you should heed the advice here, go back to your crew and re-think your entire production workflow. You are wasting precious resources on an ill-fated project.
There are no real secrets to shooting stop motion animation with DSLR cameras. The crew that worked on “Coraline” have been quite open about their techniques. Easily researched.
bogiesan