Kevin Camp
Forum Replies Created
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yes, ae can do it with it motion tracking tool. look up motion tracking in the manual, or help file, for a description of and how to use the various controls.
success depends largely on the footage and find a good point to track.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
when you pre-comped the bg, did you choose to move all attributes to the new comp? your best shot is to have the scaling attribute applied to the bg within the pre-comp, rather than scaling the pre-comp within the main comp.
there may also be a setting within the effect that is set to automaticly scale the bg to fill the frame (many effect have a similar function if they encounter footage that is not the same size). if you can disable that parameter, then it should work.
those are the only two options i can think of…
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note: you could render out as square px from ae, but you may have to tell fcp that it is sqr px footage at import.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
fcp shouldn’t be having issues with a dvcprohd render out of ae… so, lets go over your workflow and settings….
it sounds like your file is ok in ae — when you said setting the comp to 1280×720 square px, everything looked good, that sounds like what i would expect.
when you rendered, are you rendering the dvcprohd preset comp (960×720, 1.33 par) or the square pixel test comp. you’ll want to render the dvcprohd (1.33) comp to go back to an fcp timeline using the dvcprohd setup in fcp. fcp should be expecting that frame size and par.
in ae, are you rendering back to the dvcprohd codec or another codec?
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
i do work with them…
it’s realy not any different than working in a d1 or dv preset where the pixel aspect ratio is 0.9. when you turn on the par correction in ae (so the frame is the correct 4:3 aspect ratio, and a circle looks like a circle, and a square like a square) you get the same jaggies. it’s just that there is a lot more par coorection going on with a 1.33 par of dvcprohd then there is with a 0.9 par of dv or d1.
but remember, this is just in the preview window. if you render your files, and take them back into fcp, they won’t have the jaggies.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
well you figured out one worka around before i posted my reply….
but your not ‘losing’ resoultion in ae. dvcprohd is not full (pixel for pixel) hd resolution, it is 960×720 rather than 1280×720. the pixel is streched horizonally to fit 16×9 aspect ratio, that’s where the 1.33 par (pixel aspect ratio) comes in.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
it’s mostlikely the pixel aspect ratio correction that ae uses… try toggling it off by clicking a button at the bottom of the preview window that looks a rectangle with an arrow pointing left and right above it (in ae7… earlier versions look a little different).
or you can set your comp to use square pixels, 1280×720… ae will then compensate for the 1.33 par of your dvprohd to a square par of the comp.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
there has been mention of .swf export problems (i’m not sure of the specifics). but i think you could pre-comp the fractal noise layer, then pre-render that. go back to your main comp and the fractal noise layer should now be rendered footage. try exporting that comp.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
[sjohnson] “But, I’m not sure I understand the last post about alpha. If I compost a lens flare against a black background, the black background will essentially be pulled as an alpha key and when imported to, say premier, as long as it was compiled +alpha, premier should see that alpha and only display the lens flare”
i believe darby was just pointing out another method to create the layer transparency needed to be able to render an alpha channel with the file (to be imported in premiere). ae will not render and alpha channel if the flare was composited (applied) on a black solid, unless you can remove the black, which you could do if you created a matte for it, or used unmult.
[sjohnson] “This still doesn’t solve the problem of a multi layer project that I want a lens flare on say layer 3, If I create a new black solid layer on layer 3, and change the mode to multiply, it darkens all other layers below. It sure would be nice to not have to pre-comple the lens flare (or other effect for that matter) before being able to apply them as an effect on a transparent layer in a comp.”
actually, you should not need to pre-comp the flare, apply the flare to a black solid, then apply unmult to the same solid (after the flare effect). now when you render to a codec that supports alpha, and select to render the alpha in the output module settings, your rendered file will maintain the transparency of your comp.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
are you trying to create a ‘shadow catcher’ layer, to recieve the cast shadow, but remain transparency to composite ina another piece of software?
if so, techniques have been discussed… search for ‘shadow catcher’ in ae forum.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW