[Immanuel Morales]

The point of HDV was to make HD more quickly available to the prosumer market until true HD became more available – however, it’s getting cheaper to do ‘real’ HD so you might want to go that route soon – when they created HDV they also tried to make the transition too easy so the result is a lukewarm middle ground between HD and SD that is rather uncomfortable as it isn’t a very compatible format and it’s extremely compressed (4:2:0?) – i worked with HDV on a music video last year and it was horrible for post – you barely get any room for color correction at all.

Dead the Fed

[Immanuel Morales]

holy crap! then i would DEFINITELY not be able to get a system to support 240 cores! …. ok, well, at least there might be some raytracing options..

Darqlight on the Rise…

[Immanuel Morales]

so now i need to find a way to pressure Adobe into CUDAing AE from the ground up… and the blender foundation as well. now i need to get someone’s contact info from there asap hah

Darqlight on the Rise…

[Immanuel Morales]

that’s actually surprising as i know i personally can’t wait for a widescreen non-cropped standard or something along those lines.. then again, i might just be obsessive about widescreen. Or maybe it’s because i just hate designing in a 720×480 box. whatever the case, i guess i’ll just continue with the action safe

[Immanuel Morales]

Haha, my co-workers laughed at your response because they all agreed! I do plan to leave soon anyway; this place is unreasonable

[Immanuel Morales]

you can do this manually several ways; the first way that comes to mind is.
1. levels – crush the blacks hard until only the desired highlights are left
2. fast blur – use a subtle/optional blur to soften the edges
3. directional blur – stretch the highlights horizontally to the desired length
4. cc composite – blend the result back onto the original footage with screen/add/etc..

Darqlight on the Rise…

[Immanuel Morales]

best tut i’ve ever seen on this is on Kramer’s – VideoCopilot.net
i’ve actually found this to be pretty tough if you want it JUST right and the beat isn’t distinct. it helps to have a very distinct kick and/or snare before you convert your audio to keyframes. if you don’t have that then you can try Andrew Kramer’s version which involves applying the bass & treble effect before converting to keyframes. this helps create that ideal situation. oh and using the “linear()” expression helps a ton too.. just open up the graph and check out the numbers so you know what values to put in for min and max threshold. i like to make sliders for the min and max and watch the values change in the graph

Darqlight on the Rise…

[Immanuel Morales]

hm ari, not sure what could cause this unless the setting within the stroke effect made it impossible to see (ie. color was set to equal that of the layer itself or opacity set to 0%, etc..) perhaps if you fiddle with the settings it might magically appear? not sure what could be wrong here though, never had that problem, sorry! 🙁

Darqlight on the Rise…

[Immanuel Morales]

oh and another thing, from the youtube vid, it looks like the wheel is moving so fast that it ‘appears’ to be moving in the opposite direction. i think it’s just an illusion and perhaps motion blur will fix the problem?

Darqlight on the Rise…

[Immanuel Morales]

i’m not even going to pretend i know how that happened, BUT i did make two boxes in Illustrator on two different layers and save it as an AI file (CS3) then import it into AE to try it out. everything worked. i imported it as a Composition and did each individual layer. i also did it the other way, importing it as footage. still worked.

did you do something differently?

Darqlight on the Rise…