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If your pictures are already framed the way you want them to be, ie. lined up right, then just number them (the file names, that is) numerically from beginning to end ( 0000001 – 9999999) and import them into AE as an image sequence. You do that by selecting the first frame in the folder and checking the import as sequence box below. If you want it to be a certain frame rate within a different compositional frame rate, simply right-click (option-click) the sequence file and choose interpret main. Change the frame rate to the desired animation frame rate. That will allow you to use frame blending to import a 15fps (or whatever) animation into standard (again whatever your standard is {24p – 60i}) frame rate composition.
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You don’t have to have it locked down to in the shots. You also don’t have to have it green wrapped unless you want. One way or another you’re going to end up with doing some rotoscoping. Use a background plate of the location and track it to the movement of your foreground plate. Andrew Kramer is really the person to ask about this stuff.
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Main interpretation to desired frame rate and speed adjusted to match existing footage. It’s rough, but simple.
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I don’t have a copy in front of me right now, but in AE and/or PP options change the default length of footage handles (or tag frames). AE needs to know that there is more information beyond the clip in and out points in PP to use.
If there isn’t, well then…
PP makes up the need for extra frames to complete the transition by literally freezing the last frame of the clip until the transition is complete (only happens when the capture didn’t have any handles on either end of the capture, and that’s somethin you set up.) If this is what has happened, then that may explain why AE doesn’t see the extra frames. They’re not there.
Also, and I don’t remember the source on this, but I think I may have run into a problem with a difference in PP’s and AE’s interpretation of the starting frame, whether it be 0 or 1. I may be totally off on that, it’s been a while since I did anything that way.
Anyhow…
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Your post is a little unclear, but to create a mask just use the pen tool at the top or the shape tool. If you can’t see them on your UI, then try opening a different layout, as the toolbar may be hidden.
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It’s really not recommended to do your transitions in PP before importing the project to AE. The transition information is rendered in PP and saved as a seperate file in the PP cache. In essence the workings going on behind the scenes in PP have taken your two transitioned clips and created 3 clips butted end to end (Clip A-transition render-Clip B), you don’t physically see it that way on the time-line, but that’s what’s goiong on. When you import it into AE the tags are cut at the rendered transition point. You won’t be able to CC the transition if it was rendered in PP.
My suggestion is to create a copy of your PP timeline as a seperate comp and remove all transitions before sending it to AE. By the way you should be able to just copy and paste you PP project directly into an appropriately sized AE comp, it saves time. Do your transitions in AE, but if you absolutely must do them in PP, then do it after the color corection stage. PP’s render engine is a bit unweildy at times, but do what you have to. Good luck. -
Billions of car commercials to choose from. Pick a brand and we’ll have a better chance of finding out if they even have a BTS. Better yet, you could find the house that edited the commercial and ask the editor himself. SCION had a similar commercial, but it’s not what you’re looking for. It might have been done in 3dsmax… Some of the cloud cover needed to sell the atmosphere effects just never look right with AE’s 2d shapes suspended in 3d space style of 3d. Emulating the effect might end up being your best option.
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Good luck, I’ve been dealing with a client like this for almost a year now. If you drop them, they don’t always go away.
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are you just copying from PP right the AE? it works for me with similar footage.
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Also, when planning your shots try to keep them within your effects limitations. It’ll kill your video try to “get away with it” in regards to the depth of the explosion. To counteract this, do what most LB films do. Plan the shots thus, that the explosion is cut-to or from. A.K.A. show the incoming mortar, slam the Sound FX and show a simultaneous reaction shot with debris sprayed on your actors. Then cut back to the smoking crater (which can be done as a practical at anytime even B-roll, with a smoke bomb from the local Fireworks shoppe.
If you really want to show the burst, use a trucking (tracking) shot from the side. This can be done Hand_Held of course, but the point is not to dolly in or out, eliminating the need for concern in regards to depth and perspective size changes. Also don’t forget the point of impact effects. When the smoke clears there needs to be a remnant of the explosion or the effect will look darn cheesy. My suggestion would be to have a ping-pong ball (your color choice) glued to a golf-T as your tracking point in-shot. Or, if you don’t want to have to remove that later on, us a small patch of flowers (which you can “plant” anywhere). Depending on your surroundings, there’s always something innocuous to the human eye that could be used as tracking point.
Andrew Kramer has some good army shots on his website and tutorials on how to do them; you should check that out. https://www.videocopilot.net/