[John Cuevas]

Some good music

Johnny Cuevas, Editor
http://www.ckandco.net

[John Cuevas]

Like it a lot—I’m going to have to use the rotating starfield, that looks pretty cool. LOL-I’ve watched it like 5 times, really really like tieing the starfield to the planet rotation-dang why didn’t I think of that.

Glad I could help

Johnny Cuevas, Editor
http://www.ckandco.net

[John Cuevas]

I’ve had to recreate that effect in the past and the way I’ve always done it is to create my own globe, using a flat map, animating the red line then bringing it into a new comp and using CCSphere. That’s much easier than trying to match to the time of video.

If you are locked into using video, I’d still go about it much the same way, but it would require some finese. Make a large comp, 2000×500 and create black solid. Use a mask and apply a stroke, animate the end point to give yourself a reference.

Drop this comp onto the globe footate. Apply the CCSphere effect, change the radius to match globe, set the rotation to match globe. Next, use Add transfer, unmult or a shift channel effect to overlay this stroke on to the globe.

Finally, open up the original comp in a second window and add vertexes and adjust the keyframes so the line will move as you need.

Johnny Cuevas, Editor
http://www.ckandco.net

[John Cuevas]

This has happened to me on more than one occassion and the only way I’ve ever gotten it to work again is shut down and reboot up. Opening and closing the applications doesn’t fix it. Not sure why…

Johnny Cuevas, Editor
http://www.ckandco.net

[John Cuevas]

I can appreciate that working with small companies, maybe you are just starting how it may seem a pretty quick shortcut to use music that you don’t have the rights to use.

Here’s a problem I see though, you have a contract with a company in which you have illegally used someone else’s work, not sure, but how valid is a contract in which you’ve committed a crime. Granted you haven’t killed someone, but any client of mine that asked to use so and so’s song knowing full well it’s illegal, exactly how much can you trust them to not post it, distribute it…

Believe me, you’re playing with fire and it’s only a matter of time before you get burned.

Johnny Cuevas, Editor
http://www.ckandco.net

[John Cuevas]

I agree with David about mixing down the video. Audio underrun generally isn’t because of the audio, ironically. Audio files are small and easy to play through the system, usually the problem is something with the video, which takes up the most computer resources such that there isn’t enough left for the audio.

I’m sure if you wanted to find the problem and trouble shoot you could take off and replace effects, copy and move things to new timeline or you maybe on a system with some older drives(that’s what always used to get me) eventually you’ll locate where the issue is…but since you seem to be under a deadline, I suggest mixdown the video in the area of the underrun-create a new top layer and throw it on the top. As it’s a mixdown it should play in real-time. Keeping it on top will allow you to make remove it and make changes later if necessary.

You could mix down the entire sequence if you absolutely necessary, since it’s mostly rendered anyway it won’t take an extraordinary time…but I’d only do that as an absolute last resort.

Johnny Cuevas, Editor
http://www.ckandco.net

[John Cuevas]

Avid’s use D1-which is 720-486. Not 480, the Avid will stretch and move your AE composition to fit and those 6 pixels will mess everything up.

Go back to AE and resize your composition to 720×486, export DV settings, animation(I prefer the AvidCodec for the increased speed on importation). If color is critical you may have to throw a levels effect on an adjustment layer tweaking black and white outputs.

Switching the size to 486 should fix the problem though.

Johnny Cuevas, Editor
http://www.ckandco.net

[John Cuevas]

Well if Cam 1 and 2 or drop and non-drop, matching up TC to put an in mark, won’t work as the some frames have been dropped, the TC really might have the same number, but it’s counting it a different way, so it’s not necessarily the same moment.

There is a formula you can use, but I’d look for some audio or visual cues first. Usually you can find an eyeblink, cough something that will help you out. This is why, even though I’ve worked with my camera guys for years and I know they will correctly sync the cameras, give me plenty of preroll…they will always give me a slate marker on all multi-camera shoots—just in case.

Here’s the formulas—good luck.

12. Convert non-drop frame timecode to drop frame timecode:

Drop frame timecode adds 2 frames every minute, but not when the minute ends in 0 (minute 10, 20, 30, etc.).

1. Ignore hours.
2. Multiply minutes by 2
3. Take the left-most integer of the original minutes column and multiply by 2.
4. Subtract (c) from (b).
5. Add the result, in frames, to the non-drop frame value.
6. Convert frames to seconds, as needed (30 frames = 1 second).

Example: Convert 07:32:56:27 non-drop to drop frame timecode

Double the minutes: 32 x 2 = 64
Double the left-most minutes integer: 3 x 2 = 6
Subtract: 64 – 6 = 58
Add the result to the frames column: 27 + 58 = 85
Convert to seconds: 85 / 30 = 2 with a remainder of 25, or 2 seconds 25 frames.

The answer is 07;32;58;25

13. Convert drop frame timecode to non-drop frame timecode:

1. Ignore the hours column.
2. Double the minutes column.
3. Double the left-most integer of the minutes column.
4. Subtract that from the doubled minutes.
5. Continue as in #12, but subtract from the frames column.

Johnny Cuevas, Editor
http://www.ckandco.net

[John Cuevas]

I’m guessing Dave that you are using the box as a “lighting projector”. If so, the all the boxes along with the lighting transmission set to 100% also need the “cast shawdows” property turned to “only”, so that the red is projected.

Johnny Cuevas, Editor
http://www.ckandco.net

[John Cuevas]

Can’t answer for him, but for me it’s because I’m editing a multi-camera shoot and want to have the corresponding clips from both cameras.

Depending on the shoot, it can be time-consuming to have to log everything twice. Really gets takes a ton of time, say when you have to digitize 6 shows of footage—so only having to log once saves a bunch of time.

Johnny Cuevas, Editor
http://www.ckandco.net