[Filip Vandueren]

Maybe CC Ball Action, if you set the particles real small, maybe even pecompose a layer you scale up 300% and put the ball action on that and scale down again, so you get sub-pixel particles.

It might be better suited for a 3d package to do something like this.

Maybe you could ask the question in the Trapcode forum, they have a particle-system that’s supposed to be very good, maybe it can do something like this.

[Filip Vandueren]

Hi Patryk,

Just select the layer you just stabilized, hit the “P”- key and you’ll see the Position-parameter, with any keyframes it might have,

Then Option-Click on the Timer Icon to the left of the word “Position”, and you’ll see an “=” sign.
You now have the opportunity to insert an expression (a formula) for the position-parameter.

This is by default “position”, you’ll see that text highlighted in your timeline, just copy the expression I wrote into that text-field and you’re done.

precision= 50; // use a percentage from 0-100 % ,
position= ( value*precision + anchorPoint*(100-precision))/100 ;

See screenshot:

[Filip Vandueren]

Hi Patryk,

Just select the layer you just stabilized, hit the “P”- key and you’ll see the Position-parameter, with any keyframes it might have,

Then Option-Click on the Timer Icon to the left of the word “Position”, and you’ll see an “=” sign.
You now have the opportunity to insert an expression (a formula) for the position-parameter.

This is by default “position”, you’ll see that text highlighted in your timeline, just copy the expression I wrote into that text-field and you’re done.

precision= 50; // use a percentage from 0-100 % ,
position= ( value*precision + anchorPoint*(100-precision))/100 ;

See screenshot:

[Filip Vandueren]

What about the Color Finesse Plugin is that Broadcast-safe option any better ?

[Filip Vandueren]

Don’t use ease-in, it will make the speed come to a complete halt just before running at 100%, because an ease-in has a speed-value of 0% and an influence of 33%

instead, Alt-double-click on the keyframe and enter the settings incoming velocity: 1sec / sec, influence 33% this will give the smoothest transition, but there will be variable speeds in the 50% section
Or, select the keyframe and change it’s temporal interpolation to autobezier.

Be sure to twirl open the speed graph to see what happens in either scenario.

[Filip Vandueren]

In Belgium we’re now required to deliver in DigiBEta Anamorph for all the major TV-networks, public and commercial.
They don’t accept letterbox and they certainly don’t accept 4:3

[Filip Vandueren]

Why not, a version with 3d-hopping.

I baked the expression at 10fps before switching on motion-blur, ofcourse this time the letters are 3d-layers and there’s a slight variation in their position expression.

anagramscript3d.aep

[Filip Vandueren]

Why not, a version with 3d-hopping.

I baked the expression at 10fps before switching on motion-blur, ofcourse this time the letters are 3d-layers and there’s a slight variation in their position expression.

anagramscript3d.aep

[Filip Vandueren]

It should be possible in 6.5 to write a script that reads out the properties of the camera and creates a C4D xml textfile containing just the camera and it’s keyframes.

You’ll need a decent programmer, who’s willing to delve into the AFAIK undocumented xml structure of C4D .xml files.

Alternativly, it should be easier to get just a text-file with the camera-keyframes out of AE,
and maybe easier to find someone who could write a COFFEE script to import the keyframes in C4D

be sure to post in the C4D cow

[Filip Vandueren]

HI there,

AE recognizes that the footage has fields, and de-interlaces it for display, if you render out the footage using fields, they’re back.
There’s no use in showing fields on a computer screen, because all you will see are distracting horizontal/vertical combs

It appears that Premiere is doing the same, but using a softer algorithm to de-interlace.

If you interpret your footage as having no fields, the sharpness in still images will be back, but you’ll run into trouble if you’re moving, scaling or rotating your video-layers.