Matt Bacon
Forum Replies Created
-
Hello,
Is there a way to make AE CC create hold keyframes by default?
// I recognize this is an extremely old thread and I’ll probably also pose this question as a new post.
Cheers,
Matt
-
Hi,
Andrew’s suggestion did not fix this bug/problem for me.
It’s a very sneaky bug, because sometimes (ONLY SOMETIMES) the preset works correctly and applies the actual amount of Lumetri effects you attempted to save as a preset. I believe the preset works correctly when you apply it for the first time after a fresh launch of PP… but I’m not confident of this nor does it really help.
I LOVE stacking Lumetri effects: one for base correction, one for skin tone, one for applying a look (although the look step is often best achieved with an adjustment layer). Regardless, this bug sucks.
My solution is to save each stacked Lumetri effect as its own preset and name them in a sequential way: INTV WS 1, INTV WS 2, etc. Make sure you number your presets in a way that reminds you of the stack order (order matters), in my case the highest number is on the bottom of the stack in the Effect Controls panel.
Does anyone know of another solution or if this bug was ever reported? I’m on CC 12.1.1 (Build 10) running Windows 10.
-
Hello,
This thread is pretty old but it addresses an issue i’m trying to sort out: I am able to import AI artwork into AE and gradients appear correctly, but what I want is to take the path data from Illustrator AND apply the same gradient style in AE. Is this even possible?
I have tried copying a path from Illustrator into a shape layer, the path comes across but there is no fill (or gradient) data copied. Alternatively, when I import the AI file and select “Create>Create Shapes from Vector Layer” the corresponding new shape layer is created with the correct path, but the fill is a solid grey.
I did not create the original artwork. I would like to animate the art using path morphing, but there is a LOT of gradient information in the AI file and re-creating in AE will be very time consuming.
Any help is greatly appreciated,
Matt
-
Hi,
I’m definitely not a compression engineer, but I’ve done a lot of exporting, especially lately, and I find Premiere Pro (and/or AME) perform best using 2-pass VBR with a low threshold (small difference between target and maximum).
To answer your question directly, yes, the point of a “Maximum Bitrate” is to allow the compression to rise above the target bitrate where needed, but my understanding is that the software is always trying to hit that “target bitrate”. For this reason, I select a target bitrate which gives me the quality/file size I desire, then I set a maximum bitrate no more than 2-5 mbps above the target. My thinking here is that I don’t want massive jumps, e.g. the target bitrate may be working great for a huge portion of your cut, but if certain parts require a higher bitrate, I don’t want those to look significantly better or worse than the target bitrate portions. Thinking this way, I might as well use CBR, but what I’m really after is the “2-pass” portion of “2-pass VBR”. If you are doing one-pass VBR, you might as well do CBR. If you need a fast/preview output, CBR. In all other cases, use “2-pass VBR” with a target bitrate as high as you can afford.
If you are really concerned with quality, find a 1-5 second portion of your edit with a lot of movement and/or color contrast, export just that section with a variety of encoding options, pick your favorite result and go on lunch for the final export.
-
Thanks Dave,
This technique will be useful moving forward.
-
Yup. I appreciate your response. I didn’t know what I didn’t know.
-
Thanks Dan!
That worked immediately. Do you mind explaining that to me? I’m clearly an expressions n00b and I really don’t follow what just happened.
Is Math.floor ensuring that the random number is a whole number? I presumed “random(1,3)” would give me one of three integers: [1, 2, 3]
Regards,
Matt
-
Thanks Dave,
Reverting is all it took.