[David Bogie]

Thanks for closing the thread with a viable solution.
Hardly anyone does that around here.

bogiesan

[David Bogie]

[Chris Davis] “Thanks for your reply. I’m curious what kind of projects you “must” use Motion for. When you have a limited amount of time?
Sounds like AE is for me. I am curious, though, what Motion does do that would cause someone to pick it for a particular project, rather than AE. “

A bunch of factors, these are all I can think of:
The realtime capabilities of your system are adequate to the task.
Your project is suitable to the restrictions of Motion
Motion’s otherwise expansive and unique functions are appropriate to your project.
You know the differences between the applications and can instantly determine which is best for the task.
You know intimately your inventories of third party filters and doodads.
The ability to converse within the Studio apps is more efficient than going out to AE.
You already have the Studio suite.

bogiesan.

[David Bogie]

[Jesenia Ramirez] “The resulting picture is jumpy and the audio speed is way too fast. “

This indicates you are recording on the deck at a slightly reduced transport speed. The playback speed is correct and a bit faster so the audio is slightly sped up and there’s not way the servo will lock so the picture rolls. Your Beta deck is broken and must either be repaired or destroyed. There are no menu options to correct this weirdness.

bogiesan

[David Bogie]

[henry cow] “They generally export from the default AE lossless settings and match FCP sequences. But, we are seeing a lot of problems with glitches in the footage when on the timeline, even if rendered. And there is often a sluggish frame lag/drop (even if exported to file…?!)
Have tried variants of auto keyframes and say keyframe every 25frames etc…
The glitches look like sections of the previous frame(s) repeated, especially around areas of movement. “

There are no “default” Animation settings. You must tweka them to match precisely the target sequence’s frame rate, field order, and, unless they know what they’re doing with FCP’s terrible scale algorithm, the frame size.

Sections of the previous frame around movement is always a field order/frame rate mismatch.

bogiesan

[David Bogie]

Particular is expensive.

I’m with Todd, shoot it. Much more fun to pull out the pyrotechnics. We shot water-filled cloud tanks with white latex paint and aquariums filled with carbon dioxide and various evaporative or oxidizer side effects for many years before simulators came along. It wasn’t too difficult to place the aquarium and camera in roughly the same relationship as a the room into which the effect would be blended.

Gave us a chance to visit the magician’s supply shop in downtown San Diego to get squibs, accelerants, smoke powders, sparkle powders, powdered brass, powdered aluminum, flash paper—all kinds of cool toys!

bogiesan

[David Bogie]

Many of know this from experience you’re about to have: You’d benefit tremendously by preproducing the video that goes into the screen and running it live especially if there is anything in the content that is supposed to have an effect on the people in the room.

bogiesan

[David Bogie]

Google tutorials for the use of CC Light Burst; there are many out there someplace. It’s a great way to make a mirrored ball effect with volumetric lights so it can’t be too hard to adapt the techniques to create a fan laser effect. Just understand the dust particles are really there, it cannot be obscured by foreground objects with out LOTS of work, and the fan layer, even when converted into a 3D layer, has not dimension.

bogiesan

[David Bogie]

“big jitter jump” is not illustrative in the least. the chroma flies off the vector? The scale changes? The dimensional position changes? You must use a monospace typeface.

bogiesan

[David Bogie]

what you’re doing will work until you rotate one of the images.

suggest you carefully research the Photoshop for Video tutorials sprinkled all over the Net. Richard Harrington’s books and his work here on the cow should give you everythign you need to pass on to yoru PS artist who, by the way, should already have done all of this research on her own.

bogiesan

[David Bogie]

Your main problem will be that the page turn effect in After Effects in not true 3D. The corner that gets pulled off the wally is not going to come forward in space. You can fake this rather easily with another flat layer, being pulled by the hand, that is masked against the poster’s diagonal tear line. It’s getting pulled out of the wall as the poster is getting smaller.
But even it will not be curved like paper.

bogiesan