[David Johnson]

[how can i encode that using AE?]
Encoding is just the process of generating a new file in any given codec … basically the same as what is called rendering in AE.

I mean no offense at all by this since everyone has to start somewhere, but it sounds like you would benefit greatly from some reading/research about After Effects, digital video files in general and, more specifically, codecs, video compression, etc. They aren’t subjects that can be understood well enough from a few forum posts. AE has been a integral part of video production for many years now so there’s no shortage of resources.

With that said, a few things that should get you in the right direction for now …

[Where do i go to set it to “compressed”?]
Everything you need is in AE’s render queue, rather than comp settings, although you do need to know your comp settings and make sure they are what you need them to be (frame rate, aspect ratio, etc.).

I don’t have AE open right now and I do most of this stuff without thinking at this point so I might be a little off on some things, but close enough. When you add a comp to the render queue, you choose a “render setting” and “output module” … I’ve been using my own presets for many years now, but if I recall correctly, you can just choose “Best” in render settings and you won’t need to change much, if anything. You’ll want to get to know the output modules though. Thats where you choose the file type to render/encode and the related details. Note there is a difference between file type and codec … a MOV or AVI can be made with many different codecs … even a WMV can be made with WM7, WM8 or WM9 codecs. You choose your codec and the various options that affect file size and quality in the “Format Options” of the output module window.

[how long will it take to render?!]
That depends on too many things for anyone to be able to answer including your computer specs, the number and type of effects you used in your comp, the render settings & output module you choose, etc. Note that when you render from AE you are creating 30 entirely new frames for every second of video (if your frame rate is 29.97 as you mentioned) so, yes, it takes a long time in general terms.

Until you have a better understanding of the subject as a whole, I think the easiest thing will be to just make a WMV and increase the video bitrate until you’re happy with the quality, although you won’t want to go over YouTube’s specs. That squeaky stuff that goes with video (the audio) shouldn’t need more than 64kbps or so.

I hope this is helpful … I have to stop now since the more I mention, the more I think of that I could mention and this post is already among the longest I’ve ever written. ;~) Good luck!

[David Johnson]

I frequently do a similar batch process (720×486 rectangular pix to 720×540 square pix) in order to send clients screenshots for them to approve without them asking “why does that circle look like an egg?”.

Just record an Action as you make the changes to one of the images, then use batch process to do the rest. Go get a frosty beverage and, when you come back, your work is done. ;~)

Note that, if you’re going from square pix to rectangular pix, you’ll not only need to change the image size, but also the aspect ratio (and don’t be tricked by Photoshop’s annoying “aspect ratio correction”, which only affects what you see in Photoshop, not the actual image). It’s hard to say exactly what is best to do without seeing the images in question, but you might consider cropping instead of stretching, if the content of the images will allow that.

[David Johnson]

I don’t think any list of AE plugins is all-inclusive, but Tool Farm is a good place to start: https://www.toolfarm.com/

[David Johnson]

[I’m still not sure why the 12 file doesn’t have the stripes]

After re-reading your first post, I did misunderstand about the single frame thing so it initially sounded like the 3D conflict Steve mentions, which is a clearer way of saying what I was getting at. However, it now seems you might have a file issue. Even so, the short layer in a precomp Steve mentions is a very common oversight so check that first. That’s one every AE user has been shamed over after frantically investigating what must be a much more complicated issue so we’ll understand if that’s it and you don’t own up. ;~) In other words, no worries of wasting anyone’s time … I think most forum users understand the torment AE can inflict and agree that the important things are to solve issues, finish good projects and post solutions so others can save the time you lost … in that order.

This is another shot in the dark, but it wouldn’t be unheard of if AE didn’t recognize a file anymore if you happened to change it … especially if while the project was open in AE. Just for grins, I’d try refreshing AE’s interpretation of that 12 file by replacing it with with the same file. Better yet, re-import it and replace it in the comp (select the layer, hold ALT & drag it in). Similarly, as Steve suggested, maybe it’s the PSD so you might try the same on it.

[David Johnson]

FYI, I just copied my reply to this post and changed the word “Premiere” to “Final Cut Pro”:
Re: Fuzzy Graphics!!! by Dave Johnson on Feb 8, 2009 at 5:35:10 pm

Illustrator is a vector program … FCP is not. So, artwork from Illustrator will only remain sharp at 100% scale (as is the case with everything else in FCP). If you need it to be bigger in your FCP project, increase the size of the object in Illustrator to the size you need and save it that way.

FYI, the same applies when you go from Illustrator to Photoshop … Illustrator is a vector program … Photoshop is not. So, artwork from Illustrator will only remain sharp in Photoshop at 100% scale.

When you convert an AI to something else or simply open and resave it from Photoshop, you are rasterizing it so it is no longer vector … thats what the window when you first open a vector image in Photoshop is asking … at what size you want to rasterize it.

[David Johnson]

Try Photoshop’s Shadow/Highlight under Adjustments in the Image menu.

[David Johnson]

Illustrator is a vector program … Premiere is not. So, artwork from Illustrator will only remain sharp at 100% scale (as is the case with everything else in Premiere). If you need it to be bigger in your Premiere project and, thus, on your DVD, increase the size of the object in Illustrator to the size you need and save it that way.

FYI, the same applies when you go from Illustrator to Photoshop … Illustrator is a vector program … Photoshop is not. So, artwork from Illustrator will only remain sharp in Photoshop at 100% scale.

[David Johnson]

As to “why does the jpeg compression make it look splotchy” … because it sacrifices image quality for file size, which is what all compression does by definition. You might consider JPGs and other highly compressed formats just a means to share images via limited mediums such as web forums, but use uncompressed (or at least better compression such as TIF) for other purposes.

About the image itself, my opinion is that your skin tone is off and the background color also seems to draw from your skin tone. Specifically, your skin tone seems to have too much green … either from the lighting, cast from your green shirt or both.

First off, note that I’m not suggesting that you do the things I’ll mention below in the particular order I mention them since my belief is the best order varies from photo to photo. Also, note that most of what I’m suggesting is specifically for your skin since your shirt seems okay. So, you might want to isolate your face when making these adjustments and its not a bad idea to make multiple duplicate layers, use adjustment layers whenever possible and save multiple versions until you’re done so that you don’t get stuck with an adjustment you don’t like. With that all said, some things you might consider …

For the most part, don’t rely on the “autos” when enhancing your photos (auto color, auto levels, etc.). Take advantage of one of Photoshop’s main benefits … the fact that it offers a zillion ways to do everything.

For example, when color correcting your photos, (especially when accuracy is key as with photos of people), simply adjusting the Hue just won’t do. However, bumping up the Saturation a little could help the skin tone issue. In general, try the more controllable methods of controlling colors like Selective Colors, Variations, etc. A moderately applied warm Photo Filter might help some too.

Use Levels, click options and try the different algorithms to get the blacks, whites and overall contrast right.

Shadow/Highlight can also come in handy for the drama you’re looking for but note that, as with most of the adjustments I refer to, moderation is key.

I hope my suggestions are helpful.

[David Johnson]

“After Effects refuses to render my movie.”
Did you remember to say “please”?

Seriously though, I’ve run into a similar problem of renders failing on the same frame every time and, for me, it has usually come from a conflict amongst third-party plugins or even native AE filters … some effects conflict with others and the problem can usually be fixed by changing the order the plugins are applied in. To isolate the problem, you might try turning off effects on that layer one at a time and rendering test movies until you identify the culprit.

Even if it isn’t a plugin issue, there is probably something unique about that frame that AE isn’t liking so you might focus your attention on what is going on within that frame. And, it probably has nothing to do with memory … AE just seems to like generic error messages that all refer to memory.

Also, a great source for AE error info is the website of AE guru Mylenium … https://voir.mylenium.de/
He also frequents the Adobe forums so you might post your question there as well, although their forums are not nearly as user-friendly as the almighty COW.

[David Johnson]

I hope it never happens to you again and, to that end, a couple pieces of advice most people I known have had to learn the hard way:

As you deduced yourself (and I’ve witnessed consistently throughout almost 20 years), even if it takes hours, re-creating lost work is a better use of time than relying on the various apps that claim to repair Photoshop files … if it were that easy, why wouldnt Adobe just buy the technology and incorporate it into Photoshop itself?

Better yet, just open up your backup file and keep things moving. In other words, make saving and backing up your work such an intuitive part of your workflow that you do it naturally without even thinking about it. I realize I’m overstating the obvious, but the unfortunate fact is most people have to have several experiences like yours before they finally say “never again!!!” and do that.

Remember that all hard drives need unused space for system files, etc. so a nearly full hard drive frequently causes problems. Drives are cheap these days … I’d suggest using several drives for your work instead of one huge one … if you have a good workflow and are diligent about backing up, a corrupt file or failed hard drive is no big deal. There is even the option of backup software that will copy everything on your drive to a second one on your defined schedule.