Jon Barrie
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Just because there is a red line on a sequence from a clip doesn’t mean it can’t be played back without rendering. Have you tried to playback?
You haven’t mentioned the type of codec being used either. FCP has less native codec support than PPro as it converts everything to a quicktime wrapper and usually to an Apple intermediate codec or prores.
JB
Jon Barrie
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It looks like you have closed your effect control panel. Go to window menu workspaces and reset. 🙂
JB
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Hey Andy here is the tutorial I said I might make.
Hope it makes sense, seeing as you probably already have built it up.
Cheers,
JB
Jon Barrie
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Any particular reason you are using the WMV for this?
If you are having a problem with this then a work around for now would be to add one of the clips that you want to cross dissolve over to the track above and have the extra video underneath a dissovle on the above clip only. That way the clip dissolves literally over the top of the other one.
I am sure adobe are looking into the bug report, but this work around should get you working again.
– Cheers, JB
Jon Barrie
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Have you set the Highest Quality tick box in the Export Settings? That may make a difference to your render, however it can make the render times MASSIVE.
The estimate is not completely accurate at first, it assumes that the entire project you are exporting is as complicated as the current section it’s on with FX etc.
You either have the tick box activated, you have a slow machine, are rendering back to the same hard drive your media is on, are using a laptop, are exporting to a different format than you edited in, have the lower end scale of RAM (4Gig is not high these days), have other operations/applications going bogging down the CPU, serious video and audio effects heavy edit, or any combination of these things.
Try exporting to an Uncompressed format to a separate drive I tend to use the “Quicktime Format” with “Animation Codec” and Uncompressed Audio. It will chew up Hard Drive space but the “number crunching” for export is way less complex – then I use that as a Master to export to another format.
You will need to change the preset of DV to Animation then go in and setup the matching frame dimensions fps progressive/interlaced etc to completely match your edit.
Cheers, JB
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can you please supply a sample?
– JBJon Barrie
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Yes it would appear to be an unexpected result when animating a clip using the track matte feature…
If you must do this in PPro and don’t have or feel comfortable with After Effects then this is a workflow that can get you off the ground.
Nest each of the clips and scale them to 50% and position them so they are exactly fitted into each corner making 4 perfectly fitting panels. I think I will make a template for this…
In each nested sequence will be the actual clip you want to animate. This will require some back and forth to check the animation is fitting into the frame the way you want it when it is in the 4 panel composition but think of the nest for each panel as the full view of the panel… if that makes any sense… 🙂
Basically, as you have already set each nested sequence to 50% but the original clip inside is actually at 100%, when you come to animate you will be animating the actual clip from 100% fitting the full frame – if you scale that clip to 200% of its original scale, when you look at it from the 50% scaled nest in the composition sequence it has the appearance of a cropped to the panel zoomed look which is then actually the clip at 100%.
Sorry if this is sounding confusing it’s rather tricky to explain the concept without spelling it out, which would take up the better part of “far too long” so I might just make a tutorial.
I see your point in that using the track matte doesn’t function as expected. I’ll file a bug report/feature request and hope it gets sorted in an update. 🙂
– JB
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Hi Sean,
I can see why you are getting better results with FCP.
FCP does not use the AVCHD format. It converts it to ProRes format which an apple only codec and FCP uses it very well. It basically is an easier to decompress codec and therefore runs on the system much better.
I would like to know how that converted MOV file made from FCP works with PPro and After Effects on your system. I can guarantee itVs will work way better than the AVCHD media. 🙂
I was going to suggest you convert to ProRes, but means you MUST have FCP installed. So that’s why I suggested the other formats which are free and work just as well.
You can convert to P2 format via the Media Encoder. Once you install Avid’s codec then you can convert from Media Encoder too.
I must say that FCP Vs PPro using the same media is not able to be judged under the same conditions as everything in FCP must become a MOV file. Ever tried to work with an MP4 file in FCP natively! It has to render it before it can playback at all.
Test the FCP generated clip in PPro and AE and let us know how that goes for you.
– JB
Jon Barrie
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Sorry to be the bearer of the bad news you already seem to be aware of…
What is possibly happening here is that you are using AVCHD material which is a lot of work even for an i7 laptop CPU to decompress, and 4Gig of RAM is not much really, especially for HD work. Running off of one drive that is not solid state is going to have some serious bottle neck issues with read write speeds, hence a dedicated RAID 0 or 5 with very high MB/sec rates.
One option you may have here is convert the material into another format that would be less taxing on the MB/sec read rate you are needing for the AVCHD such as Avid DNxHD or Use P2 format.
Of course this now means you need to take the time to convert all your material in order to edit with it properly. Alternatively you could go out and get a FW800 drive to help with the System running off the main hard drive, running the applications, managing RAM, managing indexing, reading the media and hoping to play it all back, before you add any effects, compositing etc.
Another thing about workflow is that I would edit everything in PPro before attempting to get into AE. HD is a taxing hardware eater, hence why SD production is not dead. I am still making most productions in SD and HD has been around for quite some time now…
– JB
Jon Barrie
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Once you have imported stills the rules that were set upon import (preferences duration setting) they are locked into that duration. It’s not a problem so much as it’s the restraints of the rules set in preferences.
But there is a workflow that can help you with your current situation, no need to start again.
If you can all your stills in a timeline then select them all (or as many as you can, with the intention of repeating these steps upon the next group selection).
1. Select all the stills clips that you want to change their duration.
(Holding shift with allow you to add to a selection).
2. Right click on one of the selected clips (or hit shortcut Ctl+r/Cmd+r on Mac) to open the Speed/Duration… option
3. Set New Duration and then check the tick box for “Ripple Edit, Shifting Trailing Clips”
4. Hit OK and the new duration will be set for all the clips affected and they will all ripple edit so no gaps are created and each clip is in the timeline for the duration with a new total duration to reflect the new duration of each clip.– JB
Jon Barrie
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