Julia Gordon
Forum Replies Created
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Wow, that’s great know. I can’t believe what I’ve subjected myself to all these years.
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Based on my experience it’s best to always keep it off. It’s as if AE puts another layer of interlacing that doesn’t quite match the original and the whole thing looks pixilated in the end. When you turn it off, your footage comes out unchanged — in its original state, and the effects can be applied on the original footage, not after its been processed by AE. I know this doesn’t make sense, but it is that way. I’ve tested this hundreds of times.
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This could be a result of either one of two things: the quality switch or interlacing. In your timeline there is a swith with an image of a diagonal line of poor resolution. When you click on it the line becomes smooth. (It’s there for every applicable layer.) If you don’t see it, click on the Switches/Modes button on the bottom to reveal it.
As far as the interlacing goes — the best thing to do is just turn it off. To do that, you right click (PC) or Control click (Mac) on the footage file in the bin and go to “Interpret Footage”. The dialogue window will let you turn off the interlacing. -
I know what you’re talking about. That really annoys me too. The reason for that is that instead of creating sharp points, AE puts litttle vectors on them. The way to get rid of that is to remove the vectors on both keyframes manually, using that angle tool — the same one that’s used for editing masks. Also, if the keyframes were easy-ease, easy-in or easy-out, you should create extra keyframes for the begining of your hold and the end that are straight. Of course all of that is a huge pain in the ass, so if the pause is not too long, sometimes I just put a key frame for every frame it is still. That’s a sure way. Have fun.
That’s a cool trick with the camera. -
You just have to separate the mask and put it into a different layer in Photoshop. (Select the white of the mask and then create a new layer with that selection filled with any color.) Then import the file as comp in order to preserve the layers. Now set the mask layer (should be on top) to be an alfa-based track matte for the image layer. (You might have to click on the Switch/Modes button on the bottom of the timeline to get the “Trk. Mat.” column.) This is the equivalent of having a mask umlinked to a its layer in Photoshop. The cool thing is that you can also have a moving layer for a track matte.
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Ok, excuse my reply. What’s draft 3d?
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I feel your pain… Just a suggestion — are you sure you’re in the active camera mode?
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I like that.
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I appreciate the advice. Unfortunately, I can’t do that. I exported the files myself, working on a movie, but I’m not on good terms with the director. Can’t go back there. Too proud. That’s ok. I’ll just wait till I work at a place that has FCP HD and ask if I could do it there. Gotta happen at some point.
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What drivers? Am I missing something? I don’t know what you’re talking about. Drivers for what and what do they have to do with the codec?