[Nick Mars]

If anyone is wondering the same thing, I finally found the best workaround to be interpreting the H.265s down to 24fps (or whatever desired frame rate is) and then making proxies of those interpreted files. Only way I see to transcode workflow would still be bringing the H.265s into Premiere, interpreting, and then just exporting as whatever final format you want.

[Nick Mars]

Just want to bump this. Especially with dialogue heavy stuff, Audition does a way better job of this for me

[Nick Mars]

Hi Bart,

Can’t say I’ve ever run into this exact problem. When you copy/paste, what are you selecting when you copy? I find selecting the keyframes themselves often doesn’t work at all for me, vs selecting the whole effect (like ‘motion’).

Also, are all of the clips from the same source and running at the same fps?

[Nick Mars]

Filip,

Just chiming in a casual 14 years later with a thank you for this as well.

The internet is a crazy place

[Nick Mars]

Thanks for the response Steve.

I constantly run into the (very editor of me) problem where I try to manipulate what I have instead of using new elements combined. Will be sure to try out this solution.

[Nick Mars]

Kell,

“Move Playhead to Cursor” ended up being my ticket. Not exactly the same, but lets me just tap a key and snap the playhead to wherever my mouse is hovering.

Cheers

[Nick Mars]

Love that this sparked a discussion on it. I do understand the benefits of a perpetual from a fundamental standpoint, its why I purchased it in the first place. I guess my frustration stems more from the lack of transparency surrounding how that annual update plan worked. I got the perpetual along the same lines of logic, that it made more sense since I could use it until a significantly new OS or system dictated upgrading, then re-pay the 300 and upgrade. It just seems that systems last shorter and shorter amounts of time nowadays, so saying “you can use this version as long as you want” doesn’t mean in 2018 and onward what it would have meant in 2003, in terms of how long your OS is likely to function from a security standpoint (which is what really concerns me with outdated OS).

Again, it just seems strange (to me) that the annual update fee on top of the one-time purchase is actually higher than a month to month subscription. As you have all pointed out, a large chunk of this opinion is preference. I more just wanted to see how the community felt about it as well as offer a warning to any users that had my plan in mind.

As to the updater, I would agree that despite all of the headaches some of the updated versions of CC apps can cause when they update them (current version of Premiere is a joke of bugs) the update process itself has worked better for me than Avid’s as well. But that won’t matter for me anymore since I don’t have anymore updates ☺

[Nick Mars]

I would also love to know how to do this. Searches in the keyboard assistant yield nothing. Is there any function for mapping to buttons in general?

[Nick Mars]

Well if anyone else finds this forum, I was confusing how you control layers and paths. I solved my issue by creating rectangle shapes as new paths within my shape layer, then adding a merge layer and setting it to subtract. ????

Setup: Macbook Pro Retina (Mid 2012), 2.7 GHz Intel Core i7, 16 GB Ram, NVIDIA GeForce GT 650M Graphics Card. Dual 4TB mirrored external HDs, Apple Thunderbolt Display, Dell U2713H Display, Yamaha HS5 Studio Monitors through a Scarlett Focusrite 616, Wacom Intuos Tablet and a Logitech Wireless Solar Keyboard

[Nick Mars]

Walter,

Thanks for the response. While its true I desperately need to take a few weeks and really familiarize myself with the basic Adobe tools, I do always start by doing some extensive googling to find an answer for myself before turning to these forums. That being said, I couldn’t find a way to translate either of the links above to solving my issue.

Let me be more specific, I was a bit rushed before my day job has been crazy.

I’m animating a logo. I took the 2D image into Illustrator, image traced it, and broke it into 4 layers I can manipulate later.

I then brought this .AI file into After Effects and dropped them into my composition, promoted them to 3D, then created a shape from vector layer. I have been able to animate all of the motion with no issue. However, I am trying to have two of these layers combine a vertical “wipe” type of animation with their horizontal movement. It seemed to me that it would be easiest to simply mask the layers and keyframe the mask making this move. Here is where the fun begins:

I can not add a mask to these layers. It simply won’t let me. When I select the layer in the timeline then go up to the rectangle tool and draw, it adds a “rectangle” onto the layer instead of a mask.

So. I tried making a new shape, adding the masks where I want them, then copy pasting onto the new layer. Besides some weird keyframe jumps that I had to sort out (why AE can’t handle copy pasting well with keyframes I will never understand) it seemed to work, but then when I went to set them up I discovered the copied masks no longer had a “Trkmat” dialogue box for me to use (on these shapes from vector layers, which contain the objects I want to ‘wipe’).

Okay. So then I tried an adjustment layer with the masks on it above both of the layers I want affected. Nada.

Last I tried a full on solid layer, then adding a “Set Matte” to these shape from vector layers and setting it to reference the solid + inverting the alpha channel. And still, no effect.

Am I missing something super obvious? This is driving me up a freaking wall.

On a side note, I’ve tried using the linear wipe tool as well, but to be honest I can not get that tool to work ever. I must have watched a dozen youtube tutorials, and they all simply change that value from 0-100 and it wipes, and I can never get any change to happen to my layer when trying to use it. So if that’s the best solution to my problems here… still help, please haha. Is there some type starting parameter you need to set when using it?

Thanks,
Nick