David Franklin
Forum Replies Created
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While I am always a fan of reading the manual, a quick answer to your dilemma would be to right click on your footage in the project window and choose “interpret footage,” then select the popup menu for pixel aspect ratio in the “other options” section at the bottom of the dialogue box.
The default is square pixels, and you need to switch to “HDV 1080/DVCPRO HD 720 (1.33)” to account for the fact that P2 uses the DVCPRO HD codec, which creates the illusion of 1280 pixels out of 960 real pixels by stretching each pixel out.
Hope that works.
http://www.artisanaltelevision.com
Made With Care In Brooklyn, NY -
Me too. Thanks COW. And thank the good folks at SONY for including the AUTO ALL button, or else I would have gotten nothing.
Made With Care In Brooklyn, NY
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Well, one way would be to set up a slider. Select the layer you’re trying to wiggle. Then select Effects > Expression Controls > Slider Control.
This should add an effect to the layer called slider control. Twirl this open so you can see the variable “slider”.
Then in the expression where your wiggle lives (I’m guessing you’re applying it to the layer’s position), make a variable on the first line of the expression.
Write “amount=” then pickwhip to the “slider” variable in the slider control you just set up. Then type a semi-colon.
On the second line of the expression you put your wiggle, except you use your new variable, “amount,” as the second value in the wiggle. So the wiggle would look like this: “wiggle(10,amount);”
Now turn on the stopwatch for the “slider” variable inside the slider control effect and you can keyframe the amount of wiggle.
You could do the same thing for the frequency, but that would require two slider controls.
Hope this helps.
–David
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Did you ever resolve this problem? I’m having the exact same issue. (Well, except I’m on a Composer 2.7.)
I render out of After Effects using the Animation codec to a Quicktime at 29.97. When I watch it un-interlaced in the quicktime player on my windows machine, it looks clean as a whistle.
Then I import into Avid and suddenly all these horizontal lines start vibrating like crazy as the image zooms in. (It’s a shot of water that zooms in on the original jpeg file, and the horizontal lines vibrate up and down as the fields interact with one another).
I tried rendering lower field first, upper field first, always importing to match, but no luck.
I can defeat it through brute force by putting a 2 or 3 pixel vertical blur on an adjustment layer back in After Effects, but that makes the entire comp unacceptably soft by the time it reaches Avid.
Any help would be GREATLY appreciated.
Thanks.
p.s. I’ve also tried rendering as an OMF2 and MPEG 50, then importing each of these as native file types in Avid, but to no avail.
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Okay. Two more ideas.
One is to use masks in the add mode to reveal the flower. To do this, use the the pen tool to draw the mask over each radial part of the flower, repeating until you’ve drawn a mask for each section you want to have uncovered. Then hit “mm” to reveal all mask properties, and turn on the stopwatch for the masks’ position and set a keyframe for each mask’s “ending” position.
If you then go back to the beginning of the comp and bring all the mask vertices that are at the edge of the flower in to the center, then and make new key frames for each of these new mask positions, the entire flower should be hidden by having tiny masks. You should be able to RAM preview and see all the masks animate from the “start” position where nothing is revealed, to an “end” position where everything is. You could tweak this by animating the mask expansion property at the same time as you have the vertices move positions.
The second idea is to take your individual strokes that make up the flower and, using the pan behind tool, move the anchor points to the place where you want each piece to start its growth. Then turn on the stopwatch for the “scale” property and ramp it down to zero. Move down the timeline and scale back up to 100%. If you stagger this process for parts of the flower that are higher up, so that they don’t start “growing” until after the stalk reaches them, you will get a different type of growing effect. It won’t look the same as a write-on or stroke style reveal, but it might be nice.
That’s my best shot!
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I’m not entirely sure why you have given up on the “stroke” effect. If you use the pen tool to draw paths that follow each of the many strokes that make up your flower, then use the “reveal original” paint style, rather than “on transparent,” you should be able to animate the reveal using the “start” and “end” perameters.
If you can’t get the brush wide enough, you could also experiment with making duplicates of the layer with different “revealing strokes” positioned so that the combined effect reveals your flower. That’s a little clunky, I know.
The other option would be to bring the flower in as an Adobe Illustrator sequence (you implied that it was a vector image — is that where it was made?), and then animate the actual layers that make up the flower to have them grow individually into their final positions.
I hope this helps!
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Or use the camera tool.
To do this, turn on the stopwatch for BOTH camera position and point of interest and make start keyframes. Make sure all your layers are set to 3D (otherwise the camera won’t apply to them).
Then move down in the timeline, and hit the c key to use the camera tool. As you toggle through the options by repeatedly hitting the c key, you will be able to pull back, push in, move in the x-y axes, or rotate the orientation of the camera. As long as you’ve turned on the stopwatch, any move you make will automatically create new keyframes in the timeline.
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I’m having the same problem. I’m also having problems inside Photoshop, where when I try to make perpendicular planes, they’re coming off at crazy angles. This, too, did not happen in the tutorial. Anyone out there more knowledgeable and want to share?
Thank you!