[Mark]

I actually did try this ,and nothing showed up…..it really is weird.

[Mark]

File-collect files. It will create a new folder with the project and media all linked together. Now burn to DVD, drop on an external drive or whatever.

Mark

[Mark]

I would suggest going to the CreativeCow, not Calf AE forum and clicking on Andrew Kramers face. He has a video tutorial (possibly only on his website videocopilot) that does a very nice job explaing cameras.

Mark

[Mark]

To get HD, you have to shoot in HD, or upconvert SD to HD using a plugin such as instantHD from Red Giant. I have not personally tried instantHD, but have heard good things.

I think that you are mistaking HD and widescreen. Your footage does not have to be HD to be widescreen, but it should be shot in widescreen (16:9) in order to be rendered out in widescreen. Widescreen adds pixels, it doesn’t take them away. To get SD 4:3 footage to be REAL (not just black bars), you would have to stretch your 4:3 footage along the X axis, thus degrading the image. (Pixels would be scaled up).

Hope this helps

Mark

[Mark]

Here is what I would try, it may or may not work, but here goes. Duplicate your footage. On the upper most layer, add the levels filter and play around with the input white and black levels as to create as much contrast as possible. Now try and use a luma key to drop out the darker elements. Hopefully your camera doesn’t move. Next, apply the vector paint filter to this keyed layer and paint out the holes in the matte. Set the vector paint filter to show all strokes. Now use this layer as an alpha matte for the underlying layer. you may want to play around with a few pixles of blur on the matte layer, or byu using the feather in the luma key filter

This could possibly work. It may still involve that you do some rotoscoping and the such, but there is no way that you will pull a color key from that shot (there is no color !)

Hope this helps

Mark

[Mark]

If you have multi-layer psd files, then bring them in as compositions and animate the layers inside the comp, then drop that comp into a suitable sized comp for output and resize the photoshop comps to your needs (scale).

I’m sorry, but that is all the advice I can give, as your question is a little vague.

Mark

[Mark]

Realtime really depends on your hardware. But, are you trying to preview to ram (hit the 0 key on the nummerical keypad) ??? This should work on any system that meets system requirements. Also, how long are you trying to preview ???? Set a reasonable work range, or lower your resolution.

Mark

[Mark]

Phil, for me it depends on what i am doing. If I am treating a video based project and adding elements, then I will edit in my editing app, then export a QT and bring that into AE. Remember, you can still chop footage back up in AE once it’s in a comp (ctrl-shift-D). If I am doing a heavy compositing job, then I will export each segment seperatly and bring them in . Depends on the job.

Mark

[Mark]

Is the runner on a seperate layer, or is he embedded into the background ???? If he is on a seperate layer, then go ahead add the radial blur to that layer only, if not you may have to do some rotoscoping on a duplictae layer of the footage to isolate the runner, to the apply the blur.

Mark

[Mark]

The adjustement layer is a transparent layer that adjusts all of the layers below it. For kicks, add a tint to the adjustement layer, now scale down the adjustement layer, you should now have a tinted box with regular color around it.

Mark