Jon Walker
Forum Replies Created
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Yes it does…I think I just forgot to install the ProAnimator Plug in for AE. I installed the importer but not the interface plug for AE. My mistake. Thanks for clearing that up though. I swore I read it included the AE plug as well as the stand alone. Thanks Jon.
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Try creating a new yellow/orangeish solid and applying CCSphere to it. This will be your sun. Play around with some glow effects to get the look you want. Create another Black solid and create a circular mask that is slightly smaller than your sun. Then animate the position parameters to have the black solid move in front of the sun at the pace you desire to get the look you want. That is a quick and dirty way to do it but it should work. You could go way deeper and do some displacement mapping on the sun to get that hazy heat look and you could mask it out to where you don’t see the “moon” come in until it starts breaking the plane of the sun but if you’re fairly new I would start simple and then go from there. Play around with different effects and go crazy. Sometimes you get really cool accidents that turn out better than your original idea. Good luck. Hope that helped.
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There are a couple of things I can think of right off the top of my head…first you could do CCBall Action and take a heart pic and apply the effect to it and then animate the parameters to get the desired look. Or, if you have a copy of the Trapcode Particular plug in you could use that to create a particle shape animated to your desires.
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I have pulled some very acceptable keys using DVCPro 25 and Keylight in After Effects. Lighting is your key element here. Sure great cameras will pull great keys, but if your lighting sucks you’re no better off. dvGarage has a great plug in for After Effects called dvMatte Pro. There is also a version for Final Cut. You can read more about that here https://www.dvgarage.com/prod/prod.php?prod=dvmatteae It uses luma information instead of chroma info to pull keys from dv footage. Since the chroma values of dv are so crappy, it takes info from the luma channels to decrease spill and enhance edges. I haven’t used it but have heard great things about it. It is all in the set up though no matter what you use. Evenly lit green screens with well lit subjects will always beat any piece of software on a badly lit key. I have also had experience with the hardware key but I personally didn’t like that at all. If your subject is wearing anything even close to green it will be twice as evident with the hardware key and will be stuck in your footage. You won’t be able to roto out any problem areas because your source footage is already keyed once for the hardware green screen. Stick with your regular green screen and focus on lighting. That can never be said enough. Good luck.
– Jon Walker
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What Aharon said is correct. If you just want a sequence you check the box labeled import as sequence. I thought you wanted to import the sequence as a composition not just as a sequence. Hope I didn’t confuse you.
– Jon Walker
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I’m not sure what you mean by spaced one after another. Whenever you imort an image sequence, it usually treats the sequence as a footage file creating each image as one frame of video placing them in numerical order. If you have 30 images your clip will be 1 sec in length. I don’t think you can import an image sequence as a composition. You could however create a photoshop file with all of the images you need for your comp in the file placing them in the order your want via the layer stack and then importing it as a comp. This should solve your problems but you will have to manually space them out by frames or seconds apart depending on what you want to do. Hope this helps.
– Jon Walker
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Could be in your AJA card settings. You really don’t even need the AJA if you’re running Final Cut 5 or up. It can read the HVX DVCPro codec directly allowing you to come in from camera via firewire. If it looks fine in Final Cut it should be fine in AE. You can also change your camera settings where it mounts as a hard drive on your desktop when you plug in via firewire. This will allow you to grab the quicktime movie files and import those directly into AE without capturing in Final Cut. You might also check your comp settings. I’ve thought I had the frame rates the same before and they weren’t. Always double check. If you shot at 23.97 and your comp settings are 29.97, you’ll get some stair steppin’. You might be interpreting your footage incorrectly too. In your project window highlight the quicktime movie of your chroma key and hit apple+f. That will bring up your footage interpretation options. Check and make sure that is set to what you shot it at. Might try changing it just to see if that fixes it. Good luck.
Jon Walker
Creative Services
WPSD News Channel 6
jwalker@wpsdtv.com -
Good work man. I love that intro for the Marvel flicks. The DC intro is pretty sweet as well. Can you pull that one off?
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Good work man. I love that intro for the Marvel flicks. The DC intro is pretty sweet as well. Can you pull that one off?
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That would probably be the safest way to go. I have never had anything brought in from HVX200 via DVD but I have done it straight from the camera and had no problems playing it back. If the compressor conversion doesn’t work, you might check Panasonic’s web site for any software or plug-in downloads that might help. Good luck.