Jeremy Mullen
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After Effects Coin
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COW Coin
Forum Replies Created
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Yes, you can make multiple versions, and its got a very nice preview feature…
But when I write 1/6 the speed, I don’t mean 6x the speed. AE took 2 hrs to render the same comp that Media Encoder wants 12 to do. Sure it’s a background render, but I’m not sure it’s worth the wait. Just wondering if anyone else has used it and experienced the same startling slowness.
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Using two monitors, I’d like to be able to run the track and leave it visible, but backgrounded, on one, so I can work in another application on the other. The points are pretty clear, and the tracks have been going smoothly; but I’d naturally like to keep an eye on them. If I see it go astray, I click back over and reset the points – but this is once an hour, at the most, with the tracks I’m working with.
It’s just the necessity of having them in the foreground at all times that’s the problem. If I so much as stray-click in the Finder I need to resume the track. It’s just the sort of time-consuming automatic process that would be dreamy if it could be set to run and do it’s thing without me taking hours out of the workday to watch it.
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Much appreciated honesty. It helps me at least understand that telecining the whole negative makes sense – there had been discussion of cutting the neg, and just transferring the edit – which I was against, but needed some backup. It would limit the fine cut too much, in my opinion.
Once we have the whole neg transferred into Avid, we should be able to search and find keycode, to facilitate reconstructing the edit, right? I know it won’t be frame accurate – but it will get us in the neighborhood. Like you said – any amount of automation we can introduce – without headaches – will help speed us along. No doubt, we’ve got a little work ahead of us…
2nd question, while I’m here: when we telecine, and go straight to hard drive, what would you recommend for codecs, to smooth the way into Avid, and get the most out of standard 16? (Project will be finished in HD, 1080 23.98).
Many thanks
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Of course. Thanks a bunch. And for being so nice about it…
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I imagine it’s a bit late for consolation on your project, but I can say I’ve actually just run into this myself. I had XDCAM EX footage I was using for greenscreening, and then planned to bring the keyed shots into more complex compositions. To save time (I thought) down the road, I did my keys and then prerendered the key comps. Lo and behold, when I looked at the prerenders, half of them were freeze frames. It was weird, because it was not consistent – some of the prerenders worked (they moved) and others were still. When I went back to look at the comps I had made the keys in, again, some of them moved, but all of a sudden, others wouldn’t refresh – the footage itself had become a freeze-frame. When I went out to the footage viewer, it was fine – it moved. As soon as I dragged it into a comp and applied any effect or transformation or mask, it became a freeze-frame. What’s weirder, is that the footage had been moving when I made the keys (I needed to animate masks, so I know things were moving then), so it wasn’t always this way. Things just started going crazy when I did some work, went away from the application. and came back and did some more work.
So I found this thread and suspected codecs, and I’ve now gone out of AE, converted my XDCAM EX footage into None-compressed, and brought the new clips into my AE keying comp. It works. For now.
I sort of suspected perhaps my computer went to sleep during the prerenders or just while AE was running, and I’ve definitely noticed CS3 hates when it is open and my computer goes to sleep. I’ve had numerous crashes and freezes (Mac OSX 10.5.4) from waking a computer while AE was still open. So there’s a couple of potential culprits.
Reynolds, any discoveries at your end in the meantime? Does this sort of conversion help your stuff? You’re right – this must be happening to SOMEBODY else out there.
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Darby-
Absolutely right, but the catch is that the very small wiggle is virtually invisible when viewed on the motion paths, since it oscillates tightly around the keyframe, and it’s value was less than 2 points. Only in the value graph editor was it visible, and only when zoomed way way in on the vertical axis.And I like to think that I love all interpolations equally.
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I’ve been dancing between raindrops apparently for almost ten years; sure enough, I was a victim of the Boomerang effect – only I’d never run into it before…somehow. Just goes to show that when you think you’ve been through every possible situation, you’re still always a beginner.
The problem also concealed itself a little because it was affecting many, many layers which, when viewed in the graph editor, looked like a recently-strummed set of guitar strings going every which way. I could only Toggle Hold Keyframe one layer at a time, so I needed to switch them off and go through them systematically before I could see any correction. Before, when I had been toggling, I might have fixed one layer, but couldn’t tell because of the rest of them getting in the way.
Many thanks to all.
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I believe the .VPE export only works if there is ONE vanishing point – which means that all your grids are best created by using the ‘tear away perpendicular grids’ function to build it. If you just freehand grid after grid after grid, they will all point to different vanishing points, and AE can’t seem to handle that. Instead, try and draw one gird, and command-click off of that grid’s vertices to cover your whole image. By pulling perpendicular grids, and adjusting their size and angle individually, you can pretty much cover all the planes in your space. I found Adobe’s video on this pretty helpful: https://www.adobe.com/designcenter/video_workshop/ – Choose After Effects CS3/ Category:3D
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Thanks – I get that, how to actually rotate the footage. What I would like to be able to do is rotate the WINDOW. The footage doesn’t need to be changed – my output is supposed to be sideways, so that the screen can be rotated to right the figures in the image. Think of an LCD turned vertically in an exhibition venue – to see a person standing upright in such a scenario, the video needs to be prepared sideways. It’s just a pain to work on sideways stuff. Does this make sense?