Kevin Camp
Forum Replies Created
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what is your desitination?
you can work sd widescreen (it’s 720×480 with a 1.2 pixel aspect). then, if you were to make a widescreen dvd it would be letterboxed on 4:3 screens, but fill a 16:9 screen (note, i f you are making dvds that widescreen dvds can be a bit tricky in some software, and some really old dvd players may not letterbox at all). even if your not making a dvd, working in a sd widescreen format may give you better options later, too.
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i’m just curious dan, but when i read this post i thought of your proximity detection script…
do you think applying a similar script to the scale of the images, but linking the proximity to a single (invisible) layer (i think it would need to be a layer to get a size property…) would work? then that invisible layer would be used as a pointer to enlarge specifc images.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
if you try the ae tracker method, since some of the beam points will need the same data, apply the tracker data to a series of nulls. name the null after the joint they are tracking, like right ankle, right knee, etc.
that will make it easier to just parent the beam points to the joint nulls, and, if/when you need to tweak the movement of a joint you’ll only have one set of keyframes to deal with.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
ok, here we go…
You shot at a framerate of 24p.
P = Progressive = it’s not intelaced.if you shot to a hard disk or p2 card or some other storage device, then you should have 24p (progressive)… if you shot to tape then you actually have a 30i version of 24p (with a pulldown added to get to 29.97). generally, you can only record to tape at 29.97.
When you captured the footage to your harddrive you converted it to the framerate of 30i and it automatically applied an intelaced pulldown.
the pulldown was added when the shot was recorded to tape, when you capture from tape you should be able to remove the pulldown, recording only the 24p to your disk. there are big advantages to removing the pulldown at capture. you use less disk space (24 fps vs 30 fps). most codecs that you capture to will look better when they compress progressive frames than when the compress interlaced frames. you can place edits any where you want, with out concern for messing up the pulldown cadence thoughout you project. you won’t be removing the pulldown to effect clips and then having to put the pulldown back in to edit. you want to burn a progressive dvd, well you can take your 24p project staight to the dvd software. when you need to go back to tape, render your project with a pulldown, and since the cadence will be consitent throughout the project, you can recapture and remove the pulldown and you’ll get your 24p file back.
30i with a pulldown is really only partially interlaced.
correct. its a combination of the progressive frames with interlaced frames filing the gaps made by increasing the frame rate.
If you shoot in 24p you should keep it at 24p until your finished
yes.
Secondly, if it has already been converted to 30i with pulldown then you should remove the pulldown before editing. This will replace the interlaced frames with duplicates frames
yes, you should remove the pulldown before editting or effecting. the duplicate frames should be removed by working in a 24 fps (actually 23.98 or 23.976) project, timeline or comp.
if you edit two pieces of pulldowned footage next to each other it will most likely screw with the order of the pulldowns. That’ll make it impossible to deinterlace correctly
yes (although you can remove the pulldown, but you will essentially have to split the footage up at each edit to do so… basically re-edit).
as you found out in the end, you had to interpret the footage as not having fields (treat as progressive). you can do some effects without deinterlacing (like color correcting or overlaying still elements). but even if you wanted to animate a simple element, you would start to run into issues, and if you had to key or manipulate the scale or position of the video you’d really start to run into problems.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
if your looking at using these lights to light your screen, the third kit is probably the best (the second kit is a strobe kit, and i’m not sure you’d be able to use it). and the advantage of the softboxes over the umbrellas is controling the light on just the screen (the umbrellas will spill back light your forground too). also the third kit is a higher wattage.
just my 2-cents.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
yes, go back to the site and look again…
this tutorial would be a good palce to start.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
darby, how do you make sticky keys unstick (and never stick again)…
it would probably be a better solution than cutting my co-workers pinky fingers off, which i’ve suggested.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
they don’t call it drop frame time code for nothin’…
if you’re concerned about the frame rate causing the issue, you should be able to see which frames are ‘dropping.’
as per wikipedia, drop frame time code “drops frame numbers 0 and 1 of the first second of every minute, and includes them when the number of minutes is divisible by ten.” if you footage is dropping those frames, doing what dave said will fix it… and i’m pretty sure that is what’s happening.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
also, i would test this before i hire and shoot a dancer…
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
well.. if you don’t want to spend any money, you could track the various joints of a dancer using ae’s tracker. then using the beam effect, you could construct, line by line, and stick figure, attaching the tracker data to the appropriate end point of the beam effect.
you’ll then have to figure out haw to make the line from the beam effect look like a cave drawing… roughen edges and a displacement map would be where i might start.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW