Jeff Dobrow
Forum Replies Created
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I have never used keylight,….but if you are getting ‘edge’ jitter,…then you need to work on the keying solution. Primatte and Ultimatte Advantedge are both top-notch keyers.
You also may need to do alot of garbage masking, and cutting up of your subjects to get different key setups on say for example ‘the feet’ with shadow,…etc..etc.
Can you see visible green spill on the edges of them? R U sure the lighting was done right?
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ack….nevermind! All I needed to do was copy the files to my array, and I can simply edit in uncompressed SD anyway, without the need for the codec…..
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In my opinion it probably varies alot depending on type of work, market…etc…etc.
I can tell you that in my world, where we produce national spots, working for advertising agencies that it is very normal for myself to be involved in the initial production planning phase..etc..etc. BUT, when an agency is bidding 3 or 4 firms on a project, calls you on Thursday and wants a highly polished design and motion test by monday morning the norm is to do it. Why? Because if you do not, someone else will and they will be awarded the job. It is highly competitive and time is a lacking commodity. If you think 3 days is alot of time, keep in mind we are talking national level spot work. Typically, designers, Flame artists, offline Avid editors,Smoke editors, Audio guys and film transfer for tape to tape CC are all trying to coordinate and produce a finished piece in that time.
Very taxing.
Once the job is awarded, we still come up with a timeframe for production for bidding purposes, HOWEVER, that time is always in reality squeezed into the clients timeframe. (e.g. If we have 100 hours of work on the bid, and the spot is due in 4 days,…well….ofcourse it gets done.)So yes, I think the involvement is crucial, and the norm in my world, however if it is 5 days work and the client has a 2 day deadline you simply get it done. Period.
I have found that it was much more lax in local and regional work, but that was years ago….things may have changed. And in TV stations, it was typically a ‘need it yesterday’ attitude and creativity and polish usually suffered.
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Thanks guys. And yes,….I am very aware that I am asking quite alot! Just doing some research to see how far I can take it. We may not go in that direction due to this speed issue……
Thanks again.
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Not sure on how to help with your keyframes….Out of curiosity can you simply place the 30fps final comp, into a new 25fps comp?
btw – AE imports as 30fps as a default,…when you change your project timebase ‘display’ settings to 25 or 48 or whatever that only affects the timeline timecode display…hence these settings being under the ‘project setting display’ properties. That setting has nothing to do with footage FPS, only on how seconds are displayed in the timeline.
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You mean a Knoll Light Factory ‘lens flare’ ??
You need to use the ‘unmult’ filter after the LF filter…… -
Saving as Illustrator CS2 (assuming you’re on AE6.5) will work fine.
As the ‘man’ said……”continious razterize/collapse tranformations” button needs to be checked,….but also read about it…..very useful little *
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One more tip….
Make sure you use a ‘straight’ alpha matte when rendering from AE,…this will insure a clean key without any ‘funkiness’ in the edges or transparent areas…..
I am not a Premier user, but you may have to tell premier that it is a straight alpha and not a premultiplied….. -
Precomp whatever layers have motion (e.g. you are moving the text layer, so precomp the text layer WITH it’s motion keys) now apply the effect to the pre-comp. No need for adj layer…..