Mike Pindara
Forum Replies Created
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Also, as a side note.
I use Media Encoder all the time now since i can keep working or do some file management in my project while I’m waiting for the export. I’ve come accustomed to going to my main comp, (on Mac) Cmd+Alt+M to send the render to AME. In AME, creating a “lossless png” preset to drag ontop of renders saves a ton of time when I have to export a load of overlays or variations or the like. You should get the same result from rendering out of either since the back end of AME uses the AE renderer, so I can’t think of why they might be different.
Best of luck!
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Hah, yea that is true.
I guess it’s tough to expect adobe to modernize it’s application when they’re busy trying to cram all these new useful tools like the character animator.
It just seems so logical with the current state of todays studios, it’s a wonder why they haven’t tried to take steps forward sooner. But, I’m not a programmer, so I’m sure they’re doing the best they can with what the marketing department is telling them they need to do.
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Recently my studio has switched from exporting our “lossless” renders as Quicktime – Animation, which is true lossless but the file sizes end up being quite large, to Quicktime – PNG.
It still has an alpha channel if we need to overlay an animated transition and based on our testing and the motion graphics we usually do, there was no real visible loss of quality between the Animation and PNG.
The file sizes are much smaller than animation so with tons of iterations we didn’t overload any space, and from there we would compile the renders in premiere and export a H.264 mp4 as our final deliverable.
I’m no render whiz, but this has helped us keep quality up and save alot of space.
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I know I’m late to the party, but if you manage to make the element that’s in motion, so the only pixels you get are from the moving object. That SHOULD trick the camera tracker into thinking the camera is moving around it.
I can’t recall where, but it’s possibly Evan Abrams on youtube touches on that concept with face tracking.
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Just wanted to re-alert everyone. This problem still HAS NOT BEEN ADDRESSED.
it’s currently faster to manually sync than to try to use plural eyes. -
I’m not totally positive this will work with AE comps dynamically linked, BUT
if you import the comps from AE (File>Adobe Dynamic Link>Import comp something something).
And all of your comps are the same length as the source footage, you MIGHT be able to ALT+Shift Drag them on top of your current SD clips in the edit. it’ll replace them based on their relative timecode I believe.Cursious to see if that works, I’m exporting now so am unable to run a test for you.
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Now that we’re in the year 2016, I’ve just learned there is a simple shortcut to replace audio with IN/OUTs in tact.
from the bin ALT+Shift Drag and drop ontop of the clip you’re trying to replace.
enjoy!
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The first example you showed is definitely most easily created in C4D for sure. but for the second example, it could just be some animated shapes moving across the screen simply. then apply the effect “turbulent displace”
you’d animate the shapes or art or whatever to follow the general path of where you want them to go, and the turbulent displace will give them a little more life like they’re waving around as they move.
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So! I found out my problem.
Turns our there were keyframes all along. The issue was, Timecode.
Not exactly sure, but the AE timecode when I moved the camera to C4D was not starting at 0:00:00, but much later where i trimmed the footage. The keyframes in C4D on the camera still existed, but were at starting at frame 1, while my C4D work area was set to the timecodes from the workarea in AE.
So all in all. problem solved
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Depending on how long the video you’re trying to create is, you can try to Roto it and add a wiggle with along with using the “Posterize Time” effect to force a slower frame rate, that’ll get you that freeze frame feeling. Basically it’s decide to play every 3rd or 4th frame.