[Henry Garrou]

If any of your elements are 8K or above you will experience much slower render times. If more than one of your elements is over 8K look out!

[Henry Garrou]

Another option, I bet this works when you export to Media Encoder instead of AE’s Native Render queue. The in and out Cue points would be recorded separately for each render node.

[Henry Garrou]

A simple workaround, Just duplicate the comp for the purposes of the render
render Portion A from the original Comp
render Portion B from the duplicate, then remove the dupe after render.

Hope this helps

[Henry Garrou]

You could send a luma matte along with your “none” alpha Quicktime 4444 all in the same file.

See attached.

LumaMatte.mp4 27 MB MPEG-4 - Click to view

• Copy Download Link

[Henry Garrou]

All above is great info. Andreas is right about higher resolutions used for line art. I wanted to further that comment with the reason why print images need to be certain dpi, and possibly fill in the blank where your employee used to be.

Originally, offset printing or web press were your method of printing. Your computer images were output to film with a line screen of lines of dots, or solid lines which are measured in lpi (lines per inch). The minimum resolution for any image that does not appear pixelated when printed is 2x the lpi. Since web press printed at 100 lpi all images output from computers had to be at least 200 dpi. Offset presses started at 150 lpi, so your images had to be 300dpi. Nice magazines like vogue or gq, or sports cards. We’re 200lpi. And required 400 dpi. (Whew. Hope you’re still awake)

Lastly, when your images, text, and everything else we’re converted to film (to make the metal plates that wrap around the drums on the printer) via post script, the resolution of that film was 2450dpi. So anything that needed to be crisp and sharp, like a fine line or (God forbid) rasterized text, needed to be at least 1200 dpi on up to 2450. Anything higher than that was wasted effort since it would not improve the quality.

Hope this helps.

H

[Henry Garrou]

Because Puppet creates the mesh based on the alpha of the layer and expansion value set in puppet, you can’t reuse/replace the layer, much less move the pins after the fact. The effect just won’t “reinitialize.”

While I don’t know how to code this, is stands to reason you (or someone) could write a script that considers 80 Null layers, with the proper names you want. You first reposition the Null layers, then the script is run and it would apply puppet to the selected layer (or bottom layer) in the comp and create/rename pins based on the current position and name of the Null layers.

Is this a viable solution, coders?

[Henry Garrou]

Put a non repeating pattern like a QR code in the center of that Green Screen panel and it will track. Then use a garbage mask to remove the QR code after keying.

Also, I just export a baked camera from Maya as .ma include some Locators named Null2 Null2 etc for refernce and import the ma into maya.

[Henry Garrou]

You might pre comp your characters and use the essential graphics panel to compile a list of channels for animation.

[Henry Garrou]

I agree with all the above comments, although, like you, I often do some editing in AE in spite of non-realtime performance. It works for me when I want to take three shots or more and transition more seemlessly, like with more advanced action wipes, or a string of fake camera moves into the TV in one shot, then the Car mirror in the next, etc… In these more complex camera moves, it just makes more sense to make them one shot/scene in AE.

Also, don’t forget about roundtripping from Pproj to AE and back. It really burs the line between which software you are using, and greatly speeds the inclusion of AE in your edits.

Hope this helps.

[Henry Garrou]

Agreed with Motion Tile,

Also Repetile does the same thing, but expanding the layers boundaries to get the results.

It has lots of tiling modes, unfold is very useful.