Jeremy Mullen
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After Effects Coin
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COW Coin
Forum Replies Created
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put just the windows on one monitor, rotated the monitor, and worked on the other one! A ‘hardware’ solution, since there didn’t seem to be a software one.
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That is helpful. I guess my question is whether it’s worth being more conservative in the curve and relying on color correction to get the look, or if the AF-100’s media doesn’t contain enough data to pull out more of a look in post, the way you might with film or RED stuff…
Thanks!
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Okay, sorry, Please disregard. I needed more coffee. Duh, select all keyframes, pull value slider. Morning!
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That’s terrific – the second one is just right, since velocity allows me to work with a variable set of clips, rather than defining positions explicitly. How would I randomize the velocity values, however, so that the layers can be made to travel in multiple directions without entering different values in each expression?
Thanks already!
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Shooting resolution equals maximum output resolution, yes. One thought might be to use a decent upscaler like Red Giant to make your footage ‘higher rez’ (quotes becuase it’ll still just be software magic, not real resolution) and then stabilize. Or get creative with layering, or bordering, to mitigate the inevitable frame movement on the edge of the image.
Though the camera thing makes me wonder, though I’ve never tried it, about using a wide angle focal length on your virtual camera and placing it ‘close’ to the stabilized precomp – that might be an interesting way to fudge the edges with lens effect instead of ugly black triangles moving around…
Yes a pickle, but those are delicious sometimes.
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The whole reason to do this would be so keep audio work OUT of AE. Yeah, I’ve used the program for a while (Company of Science and Art, anyone?) – and no, I’d never touch audio in it, not really even a consideration. But if you’re doing real video (with audio) compositing, instead of in-the-box animation, it would be really useful to take AE comps and get that same sequence to appear in an audio NLE. E.g., I have 14 layers of video w/ audio, being used in a complex montage sequence, and the audio on each of those tracks needs to get added to a matching mix. If my AE comp could be the source for that kind of sequence data, it would be, well, nice.
I’ll ask over where the scripters hang out.
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Aah. I’ve got a puzzle, then. Because I am trying to bring a scal attribute across from a larger comp to a smaller one, and without collapse transformations enabled, the precomp will not show anything outside the edge of the original comp’s frame… At least I know what’s going on. I’ve just got some precomp precomping to precomp. With a bit of scale-scale reposition scaling. A small price for a great tool- Thanks!
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Aah. I’ve got a puzzle, then. Because I am trying to bring a scal attribute across from a larger comp to a smaller one, and without collapse transformations enabled, the precomp will not show anything outside the edge of the original comp’s frame… At least I know what’s going on. I’ve just got some precomp precomping to precomp. With a bit of scale-scale reposition scaling. A small price for a great tool- Thanks!
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No, I actually do like it’s batching and multiple-module feature once you have a master output already. I was more curious whether anyone was using the feature of opening an AE composition and rendering that through AME. Conceivably, it would be a great way to background render AE comps without investing in a plugin like Nucleo. But it doesn’t work well, at least for me.
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Sorry to get you excited there for a moment. Multiple output modules at 6x rendering speed?! I would have used caps-lock to post that.