[Jonathan Miller]

I, too, am having this problem. I posted about it in the OSX forum. It’s not just affecting FCP, but (so far) After Effects 6.5 as well.

I hadn’t thought about it, but yes it does seem to appear after rendering.

Everything, and I mean everything, in all of the menu bar options is greyed out and unaccessable.

Vey curious!

Jon

[Jonathan Miller]

Here you go!

https://www.creativecow.net/cgi-bin/page_wrapper.cgi?forumid=2&page=/articles/eriksson_emanuel/sand/index.html

Good luck!

Jon
TreeLine Productions
Fort Collins, CO USA

[Jonathan Miller]

Man, had to dig WAYYYYY back into my archives to find this, but I did a fairly effective version of this just using the water layer as a displacement map in After Effect 3 (I think…maybe it was 4.) So no plugs needed.

Yes, it’s very simple, but I still think it still holds up when watching the actual animation, and not just stills.

I believe I just set the water layer as a displacement map and cranked up the displacement value, then animated that value down to zero to make the logo appear to emerge from the water. I might have animated the transparency from zero to 100 at first, can’t remember. It would take all of 2 minutes to see if it will work for you.

Good luck!

Jon
TreeLine Productions
Fort Collins, CO USA

[Jonathan Miller]

Thanks for the clarification, Wes.

Jon

[Jonathan Miller]

Since you’re using AVI’s, I take it you’re using some flavor of a PC?

I’m a Mac guy, and haven’t edited anything on a PC, so I’m not sure how PC’s handle movie files. I can tell you, though, that QuickTime (before version 7) used to default to a lower quality mode for playback that would throw away half of the fields for playback on a computer monitor. This was only while viewing on a computer…the file still retained all of the fields information and would play back normally out of the computer on a broadcast monitor. I always hated this, but luckily you could tell QuickTime to show you the fields by selecting “High Quality” mode. Then, you’d see the “comb”-like effect you mentioned earlier.

You said that you haven’t noticed this problem in the comp window in AE on your footage. Well, that’s probably a combination of how AE and Twixtor work. After Effects treats video basically the same way QuickTime used to. It will only show the upper or lower fields of a clip by default. This is to eliminate the “tearing” that you’ve been seeing. When I use Twixtor (amazing product by the way) I have to interpret the footage and tell AE to show both fields (by turning “Interpret Footage” to “Off”.)

So, you should be able to see both fields if you do a preview on the unadultered clip. But, when you add Twixtor (even just by itself) the plugin deinterlaces the footage. It eliminates the tearing in the clip without throwing out half of the fields and thereby eliminating half of the clip’s resolution. When you look at a preview of the clip converted to PAL in the Comp window, it’s deinterlaced. You won’t see the fields until you reinterlace it by rendering the final clip out and “Render Using Fields”

Hope this sheds some light on the situation.

Good luck!

Jon
TreeLine Productions
Fort Collins, CO USA

[Jonathan Miller]

Jennifer, the COW has a RE:Vision FX forum where you can get answers straight from the software’s creators.

That being said, it sounds to me like you’re just seeing the fields in your movie. Computer monitors display video in a different way than television monitors (NTSC or PAL…doesn’t matter.)

Without knowing any more about your situation, I would say your DVD will play fine on a PAL TV.

Keep in mind that if you ever end up doing mission critical format conversions, you should always have a monitor that can play NTSC and PAL. Most broadcast monitors have that capability. It will just let you sleep better at night knowing that you verifed everything looks correct with your own eyes.

Good luck!

Jon
TreeLine Productions
Fort Collins, CO USA

[Jonathan Miller]

Quick answer: elbow grease.

I do recall reading that there was a ton of rotoscoping performed. Specifically, the iPod’s headphones cord was drawn over manually for each frame.

Good luck!

Jon
TreeLine Productions
Fort Collins, CO USA

[Jonathan Miller]

FYI–

You can also do this manually. Just click on the tab from one timeline and drag it next to the tab on another timeline. The timeline you clicked on will then dock next to the one you dragged onto. Try it if you can’t get it to happen automatically!

Good luck!

Jon
TreeLine Productions
Fort Collins, CO USA

[Jonathan Miller]

Check this out, it may be what you’re looking for.

https://www.creativecow.net/show.php?page=/articles/gerard_rick/morph/index.html

Good luck!

Jon
TreeLine Productions
Fort Collins, CO USA

[Jonathan Miller]

In a pinch, you may be able to get by with just a tall, skinny solid layer (or graphic) oriented towards the camera. As long as there weren’t going to be any super-fancy camera moves, having the “pole” or “hub” oriented towards the camera will make it appear to be 3D with depth, and not just a flat layer.

Good luck!

Jon
TreeLine Productions
Fort Collins, CO USA