[Mario Sahe-lacheante]

Genius. Thanks.

[Mario Sahe-lacheante]

I’ve also noticed the difference in Mac and PC before, but can’t tell you why.

However just this week I needed to burn a DVD from Video TS folder that was copied for a production, and I found out Toast actually has an option where it allows you to just import a Video_TS folder, and it burns a disk from that.

Really easy. If you have access to a Mac with Toast, leave PC for the birds 🙂

[Mario Sahe-lacheante]

Do you mean the light stays fixed within the movement of the camera? in other words, if you put the light pointing at the front of a little car, and the camera moved around, that the light stays fixed on the front of the car, but both the light and car moves in perspective to how the camera moves?
Because my light stays fixed on a point on the house, but then it moves altogether with the rest of the house as the camera moves.

What I wanted to do is fix a light so that it’s position, even just perceptive position, doesn’t change with the camera movement, so the animation moves around but the light physically stays just on the one spot.

That’s where I’m stuck – forgetting the shadows for the moment.

I don’t know, perhaps I’m just going to frustrate myself and not get it done in time. I can find a work around if we’ve lost each other, or if you think I’m confusing both of us :).

Thanks for your thoughts though

M

[Mario Sahe-lacheante]

HI

Yea, it’s not entirely what I was looking for.

Imagine a blueprint drawing on a desk, but with the house being white architectural plans animating into a 3D house on the blue background, so there’s depth to the house, but the blue BG is just fixed.
As the house animates from one single floor to a 3D house, there’s camera movement around and through the house.

That’s all done – but I just wanted to add a light that’s fixed so that you can make it look like a lamp that got switched on over everything, while still shining ‘into’ the 3D house.
One Idea was to precompose the entire thing and put the light over the precomp as a single layer – but instead of having the light just shine ‘onto’ the layer, like it would on a desk, I thought it’d be awesome if the light could actually shine into the 3d house, meaning that the lines of the plans will throw shadows over each other as the house moves.

My problem so far is that any light I add animates with the camera, no matter what I do, I can’t get it to stay in one place like a desk lamp would be.

Does that make sense?

Thanks again

[Mario Sahe-lacheante]

Thank you Walter

I will try to work down the issues you mentioned to find a uniform workflow for all of us.

The EX 3 footage is all HQ at 720p/ 1080p, we never use SP, but you made some points that I will work to integrate into what our guys do.

Thank you so much for your time.

Mario

[Mario Sahe-lacheante]

Hi

It varies, there’s no particular template everyone works off – because different people contribute to the media from different areas, including some freelancers, I know this much:

Most of them would render natively out of FCP and import into AE, mostly Apple ProRess 422 HQ and XDCAM from EX3 cameras, and work from then onwards to add effects and text.
So Comp Settings would be the native size of the video worked with in FCP, I think at square pixels for whatever amount of time at 25fps.
I have seen though, sometimes people will work in anamorphic in FCP, 16×9 an AE, and render out the final video again from FCP in anamorphic, before our Episode process makes it 16×9 again.
It’s really stupid way of working which I think comes from habit with years of working with Z1 footage, but I’m trying to get them to stop that. Again, this isn’t the norm, it’s about 50/50 at the moment with all our media.

Short of that I don’t know of anything else that can have an effect.

Our problem we’ve noticed though is not AE as a whole. With effects and filters and stuff added, the only thing we notice that pixelate is text.

Thanks for your help and input!

[Mario Sahe-lacheante]

Flip,

How do you control the speed on a random? is there a way, or does it literally just go random as it feels like it, meaning speed of the expression on, say, opacity is controlled with a different script?

Ideally, I’d like to have the random opacity happen at once every 2.5 seconds.

Similar line – can a wiggle be applied to a frequency slower than once per second?

Thanks for your help

[Mario Sahe-lacheante]

Flippen hell. I feel like I know 0.0000001% of after effects looking at expressions and what some of you guys in these forums know.

Thanks for that. I’ll give them all a shot and see what works.

Mario