Kevin Camp
Forum Replies Created
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thanks, i’ll check it out… i just had some free time and like trying to figure out how to use expressions and expression controls. i’ve been somewhat annoyed for years about the differences between many of ps’s and ae’s common adjustment interfaces, and thought i would try to tackle this one.
one thing i can’t seem modify is the sample size for ae’s eye dropper. in ps you can set a larger sample size than just one pixel (like 3×3), which is often useful. but, i’ll check out the presest, thanks.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
if you are talking about just ‘keying’ out the lens flare, then all you need is a free effect called unmult. download it and install it. then apply the lends flare to a black (must be black) solid, then apply unmult.
the flare will now be on a transparent background (click the checker board button to see). when you render, render as lossless with alpha, setting the colors to millions+, rgb+alpha and straight (unmatted). this will give you a ‘keyed’ mov to take into premiere.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
i believe you can do this with markers… search the ae expressions forum for how to reference markers with an expression.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
in ae7 (and probably cs3) there is a ‘reduce dv blockiness’ preset that will apply those effects and settings in one step…. if you prefer.
you might also check barend’s keying/matte tutorial.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
did you deinterlace your dv before keying? fields (if left in) will create bad edge behavior when keying/compositing.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
ther are two grid functions… proprtional grid (which i think is the one your talking about) and the other grid… you can trun them off in the same place, where you can toggle the safe areas.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
yep, i had read it as they wanted to uprez their sd 4×3 (0.9 par, i assume) footage to widescreen sd, square pixel. and using a tool with better scaling algorithims would be a good option. (unless you’re a cheap sob like me… 😉
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
i haven’t ever worked in pal, but i have thought workflows that would work for both pal and ntsc.
the big issue, if you have shot footage, is frame rate. but i think that can be over come if you plan to work in 24p for your ntsc dvd and then 25p for pal dvd.
the second issue would be frame size. i think working in a pal resolution and pixel aspect ratio first and then scaling that down to ntsc would seem to make the most sense. if you were able to work progressive, this should work well – note that you would need to interpret any 24p video footage to 25p before using in your pal comp first, then taking that to ntsc.
you would probably want to lay your audio in for both separately in an nle with the appropriate ntsc or pal settings.
i think this workflow would work, but, hopefully others who have actual experience with the 2 formats will chime in.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
if you would like to reinterlace your widescreen sd footage after running it through instant hd, you may want to convert your interlaced footage to 60p rather than 30p, that way you’ll still have the data from other fields to use when you reinterlace after up-rezing.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
i don’t think ae will (atleast not ae7), but i believe trapcode’s sound keys can be used to separate frequency range data from audio. that could then be linked to a color effect.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW