[Erik Pontius]

I think your problem lies with the windows media encoder step.
The width of the video exceeds the limits of the Windows Media Encoder, it is probably defaulting to whatever width was used last time (864 is the width commonly used for widescreen sq pixel output).
I tried to set up custom Windows Media profiles in the Windows Media Encoder and it treats 3072 as an invalid width.
I haven’t been able to find anything yet that states what the max frame width for WMV is but apparently 3072 exceeds it.

You might see if there is another codec or delivery format (ie. DVD) they will accept or split the video into 4 sections that can be run simultaneously.

You might also ask in the Compression forum.

Erik

[Erik Pontius]

Probably parallax from the camera move. The logo layer is probably slightly above the grid layer in Z space (or at least AE thinks it is).
You might try pre-comping the logo and grid layer together so they are one object.

Erik

[Erik Pontius]

I think Spectra is only in Media Composer.
I mostly use After Effects with Keylight for more advanced keying.
The Xpress Pro keyer is good for pretty basic keys, but other applications like After Effects/keylight, Primatte, etc… do a much better job.

Erik

[Erik Pontius]

uh..yeah…you’re right. Read that a little fast I guess…what I get for multi-tasking…email, forums, handling a conference call and laying off an edit to a bunch of beta’s.

Since the edit bays can be closed off with pocket doors, one with direct access to the soundstage, they often double as green rooms. We also incorporated a small seating area into one end of the control room for guests/handlers during live sat shoots.

Erik

[Erik Pontius]

You might see if Trapcode’s Shine plugin can produce the kind of effect you are looking for.

https://www.trapcode.com/products_shine.html

Erik

[Erik Pontius]

Nope…not a bad idea though.
We hang a large fabric green screen at one end of the studio for greenscreen work. Having a permanent painted greenscreen cove would be nice. In our case we needed a very multi-purpose space, so we opted to have have anything permanent.
We’re in a very large office building, so there are conference rooms available if we needed one. Most of the time when we meet with clients we either meet in one of the bays or at our desks which are in another area of the building.

Erik

[Erik Pontius]

We recently had the opportunity to expand our space, so we took in consideration some of the problems we had with our old space when designing the new one. We had to work within some limits as we were expanding over the existing space. This is in a large office building so there are structural constraints we had to work within.
We ended up with a space that we’re happy with that contains a soundstage, a control-room/edit bay/machine room, small storage space and 2 dedicated edit bays.
Our work is mostly talking head interviews with corp execs, though the space is large enough for other purposes.
We have a central door that enters into the space in a smaller foyer area. One door leads into the studio soundstage, the other into the control room and edit bays.
The studio “soundstage” is 20’x30′ with black walls, black carpet and sound treatment and lighting grid. We have taps for HD-SDI, component, audio and intercom at a central location along the wall towards the back of the longest side of the studio space. There are two doors into this soundstage space, one at the front, one leads into the foyer, the other into an edit bay.
The control room is approx 10’x20′ has an Avid Adrenaline, SD/HD switcher, two racks of decks, router, fiber loop and other gear. The edit bays lead off from the control room each are probably 10×10. Sliding pocket doors separate the control room from the foyer and edit bays as well as between the edit bays.
The layout allows access to the control room and edit bays without entering the soundstage area. Edit bays can be closed off completely for privacy.

[Erik Pontius]

There are probably many ways of doing this.
here’s the basics..
Create a new comp the size of your final render and the length of your larger comp.
Drop your larger comp into the smaller comp

Create a new camera
Create a new null object.
Toggle the 3d switch on your Null object.
Parent the camera to the null.

Move and keyframe the null object around positioning it where you need it…the camera will move with it.
Get real familiar with easy ease’ing keyframes and hold keyframes.

Erik

[Erik Pontius]

You might need to upgrade your Xpress Pro to 5.7

The Studio ToolKit 5.7 readme indicates that only Xpress Pro 5.7 is currently certified to work with it.

Erik

[Erik Pontius]

You can look at the current system requirements and qualified systems here:

https://www.avid.com/products/xpresspro/specs.asp

https://www.avid.com/products/media-composer/mojo-SDI/specs.asp

Avid is still a 32-bit app, so it will not address more than 3gb of memory.

Erik