[Kevin Reiner]

That threw me too, Dave. I think he meant 29.97 frame rate in a normal HD 1080 comp. Besides Dave’s mention of version incompatibility, the only other thing I can think of that has done similar things to me in the past is when I mixed puppet tool with 3D moves. Are you using the puppet tool by chance?

[Kevin Reiner]

Sounds like something weird going on to me. Is there a camera in your comp, or do you simply have 1 keyed layer with effects and masks on it? If you could take a screen grab of your timeline and comp window, that might help us see a problem.

Anyone else have ideas? I’ve never had that problem.

[Kevin Reiner]

Perhaps as simple as fractal noise with a brain-shaped feathered mask. (Set to Dynamic Twist and Spline, then play with complexity, scale, brightness and contrast, and then animate evolution). Animating the mask path and feather might give you the effect you’re looking for.

More complex would be Trapcode form, which shares a lot of parameters with particular. I’d suggest a tutorial as I can’t go into detail here.

Anything extremely realistic means heading to a 3D app.

As far as timing issues, remember that you can always precomp such effects and then use time remapping to tweek the timing. Slow it down, speed it up, ramp it, reverse it. Lots of control.

Good luck.

Mac Pro 2 x 3 GHz 6-Core Intel Xeon
32GB Memory
Dual-channel 4Gb Fibre Channel PCI Express card
Dell Display (23″ flat panel)
Nvidia Quadro 4000
AJA Kona LSi SD/HD capture card
Rourke 16 TB
Flanders 2460

SOFTWARE
Mac OS X 10.8.4
FCP 7
Premiere CC
After Effects CC
Boris Continuum
Sapphire Plug Ins
All Trapcode Plugs
Zaxwerks Invig

[Kevin Reiner]

If you want to actually change all of the position keyframes, you must have them all selected. Easy way to do this is to put your playhead where you want to make adjustments. Select the layer and hit P to open up position. Click the word “position” to select all keyframes, then move the cursor over the x and y coordinates and all keyframes should adjust as a group. This works for most sets of keyframes.

Mac Pro 2 x 3 GHz 6-Core Intel Xeon
32GB Memory
Dual-channel 4Gb Fibre Channel PCI Express card
Dell Display (23″ flat panel)
Nvidia Quadro 4000
AJA Kona LSi SD/HD capture card
Rourke 16 TB
Flanders 2460

SOFTWARE
Mac OS X 10.8.4
FCP 7
Premiere CC
After Effects CC
Boris Continuum
Sapphire Plug Ins
All Trapcode Plugs
Zaxwerks Invig

[Kevin Reiner]

I agree with everything Dave has said. It’s just a really bad image. What camera are you shooting with and what settings? It looks like you had to really bump the ISO to get an image, which introduces a ton of noise. You need more light and need to put more distance between subject and background. If you are on a DSLR, be sure to do a digital zoom-in to check your focus. Hope you can reshoot, because that will be difficult to fix in post.

Mac Pro 2 x 3 GHz 6-Core Intel Xeon
32GB Memory
Dual-channel 4Gb Fibre Channel PCI Express card
Dell Display (23″ flat panel)
Nvidia Quadro 4000
AJA Kona LSi SD/HD capture card
Rourke 16 TB
Flanders 2460

SOFTWARE
Mac OS X 10.8.4
FCP 7
Premiere CC
After Effects CC
Boris Continuum
Sapphire Plug Ins
All Trapcode Plugs
Zaxwerks Invig

[Kevin Reiner]

Only a couple hours left. A Halloween miracle!?!?

Mac Pro 2 x 3 GHz 6-Core Intel Xeon
32GB Memory
Dual-channel 4Gb Fibre Channel PCI Express card
Dell Display (23″ flat panel)
Nvidia Quadro 4000
AJA Kona LSi SD/HD capture card
Rourke 16 TB
Flanders 2460

SOFTWARE
Mac OS X 10.8.4
FCP 7
Premiere CC
After Effects CC
Boris Continuum
Sapphire Plug Ins
All Trapcode Plugs
Zaxwerks Invig

[Kevin Reiner]

We are a small shop in Omaha. We switched to CC from FCP 7 a couple of months ago. So far I really like it (especially after they fixed all of the timeline foolishness). Most of the bigger houses around here that have more than one editor accessing the material are using Premiere. However, a lot of the DSLR shooters are using FCP X. I think FCP X works best for a one-man-band who is doing everything from capture to edit to color to VFX to audio. For me, Premiere kept my workflow very similar to what it was. My only main gripes are in exporting multiple sequences quickly and also the bug that I’m having when using my AJA cards with After Effects. They need to figure that out quickly, because its really impacting my workflow. That might be for another post and I’d love to hear if Walter Biscardi has any knowledge of it.

https://blogs.adobe.com/aftereffects/2013/08/solutions-for-problems-with-quicktime-files-in-after-effects-cc-12-0-because-of-conflict-with-dvcprohdvideoout-quicktime-component.html

Mac Pro 2 x 3 GHz 6-Core Intel Xeon
32GB Memory
Dual-channel 4Gb Fibre Channel PCI Express card
Dell Display (23″ flat panel)
Nvidia Quadro 4000
AJA Kona LSi SD/HD capture card
Rourke 16 TB
Flanders 2460

SOFTWARE
Mac OS X 10.8.4
FCP 7
Premiere CC
After Effects CC
Boris Continuum
Sapphire Plug Ins
All Trapcode Plugs
Zaxwerks Invig

[Kevin Reiner]

Yes, you should be able to do all of that. That is pretty much my workflow. Essentially, you’re doing a manual SATA 1.

In Prelude you want to:

1. Start a new project.
2. Click ingest
3. Find your SDD in left column
4. Then in the right hand “transfer” panel click the box and choose your primary destination.
5. Make sure transcode is unchecked so that you’re making an exact duplicate of the footage.
6. select “bit-by-bit” for ultimate security.
7. Click “add destination” to choose your 2nd drive.

You could even add a 3rd destination to make proxy files for other purposes. I’ve never had issues with my original data being changed.

Good luck,
Kevin

Mac Pro 2 x 3 GHz 6-Core Intel Xeon
32GB Memory
Dual-channel 4Gb Fibre Channel PCI Express card
Dell Display (23″ flat panel)
Nvidia Quadro 4000
AJA Kona LSi SD/HD capture card
Rourke 16 TB
Flanders 2460

SOFTWARE
Mac OS X 10.8.4
FCP 7
Premiere CC
After Effects CC
Boris Continuum
Sapphire Plug Ins
All Trapcode Plugs
Zaxwerks Invig

[Kevin Reiner]

A little low on RAM, so make sure you turn off multiprocessing and follow John’s advice on Tiff sequence. Maybe try rendering it in segments and then stitching together in editing app and then exporting an mp4.

And how big is big? What is your frame size and what kind of footage, effects, etc are being used?

-Kevin

Mac Pro 2 x 3 GHz 6-Core Intel Xeon
32GB Memory
Dual-channel 4Gb Fibre Channel PCI Express card
Dell Display (23″ flat panel)
Nvidia Quadro 4000
AJA Kona LSi SD/HD capture card
Rourke 16 TB
Flanders 2460

SOFTWARE
Mac OS X 10.8.4
FCP 7
Premiere CC
After Effects CC
Boris Continuum
Sapphire Plug Ins
All Trapcode Plugs
Zaxwerks Invig

[Kevin Reiner]

I have yet to use it to log, but I do use it to copy media from field hard drive to my storage drives using the bit to bit comparison feature. Works well. The logging looks interesting, just haven’t taken a crack at it yet.

-Kevin

Mac Pro 2 x 3 GHz 6-Core Intel Xeon
32GB Memory
Dual-channel 4Gb Fibre Channel PCI Express card
Dell Display (23″ flat panel)
Nvidia Quadro 4000
AJA Kona LSi SD/HD capture card
Rourke 16 TB
Flanders 2460

SOFTWARE
Mac OS X 10.8.4
FCP 7
Premiere CC
After Effects CC
Boris Continuum
Sapphire Plug Ins
All Trapcode Plugs
Zaxwerks Invig