[Jim Dodson]

So null 3 is your master

try my suggestion using null 3 as your master

Jim Dodson

8 Core Intel — Mac – OSX

[Jim Dodson]

Take a look here:
https://forums.creativecow.net/thread/2/962101#962115

Basically you want to pickwhip the position of your video to the anchor point of the master null
Then pickwhip the anchor point of your video to the position of the master null.
Then pickwhip the rotation of your video to the rotation of the master null — then edit that rotation expression by adding “*-1” without those quotes…

Jim Dodson

8 Core Intel — Mac – OSX

[Jim Dodson]

Thanks Kevin!! That worked perfectly!!! —

Jim Dodson

8 Core Intel — Mac – OSX

[Jim Dodson]

Andrew Kramer has a great Energy Ball tutorial here:

https://www.videocopilot.net/tutorials/energy/

Jim Dodson

8 Core Intel — Mac – OSX

[Jim Dodson]

…just thinking out loud here,

Have you tried lowering the “SPACING” to 0%?

Jim Dodson

8 Core Intel — Mac – OSX

[Jim Dodson]

CC wire removal is pretty easy to use — it stitches the scene together from the right and left of the line that you create by placing the two points.

You can experiment with the thickness…

In looking at your film it looks like you mostly have that one bad scratch…

You won’t need to break the film into sub-clips because you can apply more than one instance of the wire removal effect to the same shot… — in fact, if the scratch is very thick, instead of cranking up the “thickness” (which will create a smearing/tearing effects) , try adding two or more instances of CC Wire Simple Removal and attacking the line in two (or more pieces)…

Remember, you’ll want to key frame the two points to keep the points centered to your line– I doubt motion tracking would be very helpful in your particular circumstance… When the line disappears for a while, you can move the A&B points out of your frame; make a HOLD keyframe and just keep the points there until you need to bring them back on to your frame.

One more suggestion, sometimes if the bottom half of the frame is dark and the top is bright (or if the thickness of the line is thicker on the top and thinner on the bottom of the frame) , you might want to handle the top half of the frame with one application of WIRE REMOVAL and the bottom half with a second instance of the effect — that way you can dial in a different “thickness” for the top and bottom… In this example the “A” point might be at the top of the frame and the “B” point might be somewhere near the middle of the frame” — and in the second instance of the WIRE REMOVAL the “A” point would be near the middle of the frame and the “B” point would be at the bottom of the frame…

Jim Dodson

8 Core Intel — Mac – OSX

[Jim Dodson]

There is a similar strategy that Mackdadd has created called “TrackerViz” — it is an incredible FREE script that basically allows you to track a layer sveral times (as many times as you want) then AVERAGE all those slightly different tracks together — the result is incredibly rock steady tracking…

The script and details can be found here:

https://aenhancers.com/viewtopic.php?f=3&t=1070

Jim Dodson

8 Core Intel — Mac – OSX

[Jim Dodson]

You’re not alone in enjoying Crash’s cool blur effects!!

I’m pretty sure all you need to do is make an adjustment layer — throw on a blur to that layer then add some heavily feathered masks to the left and right side of the adjustment layer — that “distortion” that you refer to (I theorize) is due to using the very tasty (and very render-intensive) lens blur effect… (also try a little “specular highlight” around 2-5 and lower the threshold to around 240 or so)…

Of course, I think “Crash” keyframes the masks from time to time to keep the actors from hitting the blur area…

…this is all pure speculation on my part…

Jim Dodson

8 Core Intel — Mac – OSX

[Jim Dodson]

Were you using multi-processor rendering?

I’ve had the same problem when “render multiple frames simultaneously” was checked “on” in AE preferences…

Jim Dodson

8 Core Intel — Mac – OSX

[Jim Dodson]

PS… If your DPX files are LOG color space, don’t forget to throw the Cineon Converter effect onto your DPX layer if you want to see the true colors in a more conventional QuickTime file format…

Jim Dodson

8 Core Intel — Mac – OSX