Nevin Styre
Forum Replies Created
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the newly introduced premiere mercury engine support for CS6 on some macbook pros is apparently pretty lousy & doesn’t compare to running it with a CUDA card. Right now windows machines are much cheaper to get good performance out of than mac for CS6 and have way more hardware options.
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It depends on the footage, you could scale up the entire image to 10,000px wide, but to not cut off your F1 car it would have to be fairly small in the frame as you would be cropping out a lot, And blowing 1920 up to 10,000 means the overall resolution will be pretty low, 4k or 5k footage would probably be a lot better but still be “blown up” to fit into the 10,000px wide space.
This is an alternate technique that is likely to only look right if you have the proper shot & time/patience to make it look right:
If it was a static level shot and the car enters the frame from the left and exits the right, you could manually roto mask the car out for the entire duration it appears on screen, and then use position keyframes to move it from the left to the right in your 10,000px composition. The wheels might look a bit odd as the car would be traveling 5 times the distance while the wheels are still spinning the same speed. Parenting an adjustment layer to the car layer that has circle masks with feathered edges around the wheels, with “CC force motion blur” effect applied may help to hide this. For the background you could use a portion of the same static shot that doesn’t have the car in it yet & duplicate it 4-5 times, then stitch them together to create a 10,000px panorama for your extended background(cloning and/or feathered masks probably needed to do this seamlessly). For the background to look right the road would have to be completely level in the shot & nothing unique/identifiable that would look obvious when repeated 4-5 times. If you have some creative freedom it might look better and be easier to use a different image or design for the background all together.
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What camera/codec was it shot on? Maybe the camera is newer than your version of After Effects and uses a newer format/codec than supported.
Does it open in premiere or even MPEG streamclip? If so perhaps exporting the clip you need into another format might help you.
Is it just the one clip or all of your clips?
If it’s just a single clip having issues and not your other MTS files, it could unfortunately be that the file is corrupt. -
To render out as 5 videos you could place your 10000×1080 composition into a 2000×1080 composition 5 different times and just re-position it in this new composition for each of the 5 sections. Effectively cropping 8000px wide off in each composition.
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For the mac there is still the option if you can get ahold of a GTX 285 mac edition, though it’s a bit older now it’s the only other supported cuda card on OSX for premiere. On PC look for a gtx 570, it is fully tested and supported and you should be able to find one around your budget, maybe a little more. Cheaper cards like a 560ti could work but they are not officially supported and you have to alter a file or 2 to get them working properly.
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Zaxwerks has a 3d flag plugin for generating what you are looking for, it’s $149. It’s probably as realistic as you can get in AE without going up to a true 3d application
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In the advanced tab of comp settings theres an option to preserve framerate when nested, have you tried enabling/disabling this setting in your precomps?
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I believe if your existing tracks on your timeline are stereo and the tracks from your footage are mono than premiere will create new mono tracks to accomodate your footage & vice versa.
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Pure 100% red has always been bad for video, I would suggest trying to tone back the saturation & value on the red a bit while trying to maintain the original look as much as you can.
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I’ve noticed this issue too & it happens 100% of the time, the only way is to leave clip alone in premiere & do the retiming in AE. Set your clip to the duration you want the retimed clip to be in your timeline, send the clip to AE so it creates a comp with the proper duration, then use the time remapping or speed options in AE.
I also dislike when a clip is sent to AE from premiere that it doesn’t just create just a comp with the clip, it first creates a precomp of the entire source clip, then the composition you are to work on just has that precomp trimmed to your in & out choices. A lot of the time I would prefer it make a single comp with the source clip as the layer(at the right duration and in & out points sent from premiere of course). I think this is part of the reason that retimed shots from premiere don’t send properly to AE.