Dustin Bowser
Forum Replies Created
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I’ve noticed this same thing.
No effects in the Premiere Timeline. Also, within After Effects the clip is sharp and how it should be. Back in Premiere it’s very noticeably of a lower quality.
Quality of the playback is set to FULL.
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That was it! Thanks!
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That is what I was doing. I tried pickwhipping the Position parameter of the child null to the Position of the Master null, but it instantly pops up with an error saying it ‘can’t find that layer’ (referring to the master null layer).
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Anyone have an idea what those expressions would be?
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Exactly what I was looking for! Thank you!!
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Hey Ross!
Thanks for responding, it’s cool that the software makers jump on here and reply personally.
It’s not necessarily a matter of Mocha not giving me the stabilization that I want — It’s more about that sometimes shots already have matchmove data, so it would be nice to just use that and then composite in 3D using a ‘3D stabilized’ comp, and then reapply the 3D camera motion to get motion that was shot back.
My thought is that, it would work the same as working with Undistorted Precomps with Mocha’s corner pin stabilization, except that I would be able to use After Effects 3D capabilities as well to add in elements into their proper place in 3D using the matchmove data, and then it would stick properly.
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Same problem here.
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Is there any way, going through the Particular UI that you can use custom iris shapes, or is that just something that Particular can’t do at this particular moment?
I could’ve sworn I’ve seen some Particular stuff that was defocused with a Pentagon iris — maybe I’m wrong. Is there any way to get a depth map out of Particular so you can use it in CS5.5’s Camera Lens Blur or in Frischluft Lens Care?
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Also, all your settings for Memory, Video Card, Auto-Save, etc…
And all your Output Module Presets that you’ve created.
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The problem with just doing a straight precomp was that I had already built up a complex composition that used the footage, which is why I decided I needed to create a proxy, because the comp was getting to dense to work with. Since I had already used the footage a bunch of times, in comps within comps, I needed a way for the timing to stay the same within the “Trimmed Comp” that Premiere gives you when you do a copy/paste from Premiere.
Doing a Precompose “Leave All Attributes” doesn’t actually trim the comp, it leaves it the same length, so that’s the same as not precomposing at all for these purposes. Precompose “Move All Attributes” does trim the comp, but also offsets that comp in time when doing so, which ruined the timing of all my comps.
The method that I stumbled upon yesterday was Precomposing using Andrew Kramer’s “Trim Compose” script, which will create a trimmed comp, the same as doing a “Move All Attributes” but it will not shift the comp in time — it will leaves it’s timing intact.
Was just wondering if there was an easier way that was as simple as “Create Proxy from frames ### to ###” or something like that.