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Probably the easiest way would be to import your video, and double click your video while it’s in the project window. Navigate to your in point and use the “set in-point” button below the video, do the same for the out point, then drag it on to the make new comp button.
Johnny Cuevas, Editor
Thinkck.com“I have not failed 700 times. I have succeeded in proving that those 700 ways will not work. When I have eliminated the ways that will not work, I will find the way that will work.”
—THOMAS EDISON on inventing the light bulb. -
Probably a few ways to achieve this effect but here’s one method. Create a solid, apply Generate > Ramp Effect and create your gradient. Now use the text tool to create your letter and place it above your solid. Change the track matte of the solid/Ramp layer to “Alpha Matte”(press F4 if the track mattes aren’t currently visible). Now animate the position of the solid layer, or animate the position of the start end of the gradient. Then parent the solid to the Text/Letter, so if you move it, the gradient will move with it.
Johnny Cuevas, Editor
Thinkck.com“I have not failed 700 times. I have succeeded in proving that those 700 ways will not work. When I have eliminated the ways that will not work, I will find the way that will work.”
—THOMAS EDISON on inventing the light bulb. -
Based on the little info you provided, your settings should work, with the adjustment to the bit rate. If you have the time(or access to a faster computer), I would suggest variable bit rate and change it to 2-pass(something you can’t do in AE).
Also–and I forget this sometimes…just do a test, render 1 minute of the most complex portion of your animation and see how it looks, then if you need to make adjustments, make them and test again.
Johnny Cuevas, Editor
Thinkck.com“I have not failed 700 times. I have succeeded in proving that those 700 ways will not work. When I have eliminated the ways that will not work, I will find the way that will work.”
—THOMAS EDISON on inventing the light bulb. -
Bit rate of 50, like 50Mbps is very high, your target bitrate should be more like 4.5Mbps with a max of 6. Also, I would take the AE comp, dynamically link it to Adobe Media Encoder and render it from there, you have a quite a few more options for compression.
Johnny Cuevas, Editor
Thinkck.com“I have not failed 700 times. I have succeeded in proving that those 700 ways will not work. When I have eliminated the ways that will not work, I will find the way that will work.”
—THOMAS EDISON on inventing the light bulb. -
Here’s a tutorial that should help you understand it better.
Mocha Import: Corner Pin Tutorial for After Effects Part 1
Johnny Cuevas, Editor
Thinkck.com“I have not failed 700 times. I have succeeded in proving that those 700 ways will not work. When I have eliminated the ways that will not work, I will find the way that will work.”
—THOMAS EDISON on inventing the light bulb. -
Each card most likely contained a green screen with some tracking markers. The footage is taken into AE or Mocha and then tracked. Finally, a precomp is created, where a new photo will be placed, this precomp in put in the final piece, keyed and has the tracking data applied to it.
Johnny Cuevas, Editor
Thinkck.com“I have not failed 700 times. I have succeeded in proving that those 700 ways will not work. When I have eliminated the ways that will not work, I will find the way that will work.”
—THOMAS EDISON on inventing the light bulb. -
That would probably work if everything is the same size and you are perfect with the naming convention.
I would probably just import the pics into AE, select the layer you want to replace in timeline, select new asset in project window and press “Cntl + Alt + /” to automatically replace it. I just like to see each one to make sure there isn’t some crazy issue that pops up with the replacements.
Another thing to consider is, if you rename new assets, replace old ones, you are effectively deleting assets, if you don’t have a copy, you will be banging your head against the wall when the client says “remember that picture we used that one time, let’s use it again.” —just my 2 cents.
Johnny Cuevas, Editor
Thinkck.com“I have not failed 700 times. I have succeeded in proving that those 700 ways will not work. When I have eliminated the ways that will not work, I will find the way that will work.”
—THOMAS EDISON on inventing the light bulb. -
Check and see if in the invisible comp, you are looking at an active camera or front view, and not top or side. Another gotcha can occur when you accidentally push the “Area of Interest” button next the resolution pulldown.
If either of those aren’t the issue post a screen grab of the comp and perhaps we can figure it out.
Johnny Cuevas, Editor
Thinkck.com“I have not failed 700 times. I have succeeded in proving that those 700 ways will not work. When I have eliminated the ways that will not work, I will find the way that will work.”
—THOMAS EDISON on inventing the light bulb. -
The timecode 00:00f would be your seconds:frames timecode. Though I’m not sure how you are getting the “f”, can you post a screen grab of your timeline.
Johnny Cuevas, Editor
Thinkck.com“I have not failed 700 times. I have succeeded in proving that those 700 ways will not work. When I have eliminated the ways that will not work, I will find the way that will work.”
—THOMAS EDISON on inventing the light bulb. -
Glad you worked out a solution, really strange your preset worked on my system though and not yours.
Johnny Cuevas, Editor
Thinkck.com“I have not failed 700 times. I have succeeded in proving that those 700 ways will not work. When I have eliminated the ways that will not work, I will find the way that will work.”
—THOMAS EDISON on inventing the light bulb.