[Ebarfield]

Well, the solid is certainly the same size as the comp…The size of the object, I set to be as close as I could to 3:2 aspect ratio (720X480 ratio). I will check it and try to make it exact ratio.

It’s hard to explain: when I turn on the “title safe” area, and the outer edges of the object (the outside border of the “TV”) begin to touch the title safe area (the inside rectangle; the outer rectangle is the viewing safe area), the outer edge (not the screen part of the TV) gets clipped off.

…and I’m not quite sure I understand this:

>>Any border around the movie will be considerd part of what’s stretched to fit the face of the object.
I layer-mapped the .avi file to the inside screen area of the TV. It basically has two components: a flat screen, and a small border around the screen.

thanks for your help.

egb

“deja vu all over again” — Yogi Berra

[Ebarfield]

One option is Zaxwerks Invigorator (see the Cow forum on this package). I have the Invig Pro option, which you upgrade from Invig Classic, which you used to get with AE (6.5). I am not sure if you get it free with 7.0. Difference is that with classic, you must import your text from Adobe Illustrator, then manipulate it with Invig. There is also the pro animator flavor, which others say is better than Invig Pro version.

“deja vu all over again” — Yogi Berra

[Ebarfield]

BTW, I just tried exporting a short captured clip, 407.6 MB DV Avi, to a movie using “uncompressed avi”, and it turned out 3.1 GB! I have never used this export compression, but did not realize it increased size that much.

“deja vu all over again” — Yogi Berra

[Ebarfield]

Personally, I would try this:

export timeline to “dv avi” (file/export/movie), and make sure you select “work area bar only” as part to export.

Import this .avi file into encore as an “asset”, and use “automatic” transcode setting. Encore will encode final compression as mpeg-2, but it should tell you if it will fit or not.

If it doesn’t quite fit (4.7 GB, assuming single side), then you have some options:

(1) try a lower setting, such as dv 4 mb one pass type thing, for your transcode setting.
(2) use a double-sided DVD (9.4 GB?), which can play on more players than you might think, assuming you have a DVD drive which can handle this.

there are probably other options I am not aware of.

egb

“deja vu all over again” — Yogi Berra

[Ebarfield]

with 7.0, you can export “uncompressed avi”, “microsoft avi”, or “dv avi”. Which one (I am assuming you selected export/movie to export the timeline) did you use, and did you export work-area bar, or entire sequence? Sometimes, I forget to set properties as “work area bar only” and this chews up some space…

“deja vu all over again” — Yogi Berra

[Ebarfield]

Ha! too funny…I love it…

“deja vu all over again” — Yogi Berra

[Ebarfield]

yea, I have kept it simple thus far. Any money I make from this is video DVDs, essentially.

The “film look” of 24p is nice (although I don’t fully understand the depth-of-field difference yet) even when converted to 29.97 /timeline. I recently shot some beach video at sunset (24p normal) and it does have that “softened” look, for lack of better word. But yea, you have a good point…especially for complicated effects work.

I do shoot a lot of stuff in 30 fps, and just recently began shooting in 24p because I have a friend who has been in the film (sic) business for over 30 years, and he poo-poos 30fps as “junk”…I am not that radical yet…{;>}

“deja vu all over again” — Yogi Berra

[Ebarfield]

Was import format mpeg, or some other fairly compressed format, and the export format perhaps AVI? Don’t know if it would grow that much, but has to be a compression thing…

“deja vu all over again” — Yogi Berra

[Ebarfield]

Well, I really mean “video”. From my readings on the forums here and elsewhere, and from some experience with DVX100B and PP/AE, I have gathered this. Please tell me if I am wrong:

The general rule is to:

Shoot 24p Advanced (Scene mode 6 on DVX100B, or 100A) for:

Post-production using tools that understand Advanced pulldown, or, in a lot of cases, “film-out”. This is where you would use the Premiere Pro 24p project settings with the advanced pulldown methodology for capture/editing.

Shoot 24p Standard (my method; F5 on camera) for:

Getting the

[Ebarfield]

haven’t tried rotoscoping (don’t think I’ve ever done that on any film), but have only done simple stuff like resize/reposition the video over time, picture in picture, and text graphics with the video. No problems with that stuff. I will keep this in mind.

egb

“deja vu all over again” — Yogi Berra