[Paul Bertham]

Sorry Guys,

i´m still not really “here” due to the lack of sleep i´ve had the last days, so i did not recognized all the replies above.

ok, don´t think i´m crazy and i try to lever the laws of (camera) nature 😉

it´s not easy to describe, i´ll try again.
just besides to mention >>>
# scaling – or moving layer in 3D space = NO
# reducing 720p comp size to DV-PAL Widescreen = NO

heres an example from kindergarten.
1.) use a piece of cardboard an cut out a rectangular hole.
2.) place camera inbetween cardboard and object.
3.) rotate camera.

imagine now the cardboard is the outside area of the composition panel and the object is the layer inside the comp window.
if i rotate the camera and as the camera rotates you would still just see the obscuring comp panel area and the layer would not show the black (or whatever color set) background BECAUSE it is obscured by the (cardboard) outside area.

that´s all what i want to simulate.

if i had a another choice would have shoot it like shwon here at 1:35
upside down

-_-

[Paul Bertham]

good mind Trent, but both, camera and layer are then dancing together some waltz in custom view, but so then nothing happens in Active Camera view.

i don´t get it. anyways, thank you a million.

[Paul Bertham]

Thank you People for responding.

I´ll find a way to accomplish this task.
My mind was to short i think, because i thought practically (real world) that if i rotate a video camera in front of a person, the person itself would not rotate along with the camera.

Means, IF after effects wold do that way my image would stay in place an the rotation would only happen in the camera so everything else would happen “behind” the comps window (gray) area and i´d be fine.

anyway. thanks again for suggestions.

Cheers,
Paul

[Paul Bertham]

BTW, 35+ hours looking at that kind of stuff would do serious damage to one’s thought processes. 😉

i accomplished 95% of my work in these couple of hours. but this trouble makes me really sleepless.

as you said, it seem to be impossible without (animate) scaling/zooming the image, but in this case the rotation has to be very slow – otherwise if rotation would be just a few frames fast i could have accomplish this by simply adding blur or motion blur and no one would recognize the quality loss from zooming deep into the image.

but my major question still is: why this task will not work?
im rotating the camera not the layer itself? i don´t get it…

thanks for replying guys.
cheers,
Paul

[Paul Bertham]

As you can see on the left “active camera” – the background shows trough.

There is just one video layer and one camera, thats all.

on the right, in the “custom view”, camera does exactly what i want but this does not affect the active camera (comp) view

[Paul Bertham]

you´re right. i was afraid that my kind of question will not reach the desired result in answers. i´m 36something hours awake and gladfully everything worked till now.

yes i have misspelled myself. the Z-Rotation of camera or Orientation.

The video-layer is fullscreen (720p Footage in a 720p Comp).
I want to rotate the layer inbetween tweo keyframes 180 degrees (upside down) without seeing the boundaries of my video layer when rotationg. again i cannot zoom inside the video layer because of quality loss.
Also i have to stay 720p.
Would be an easy job if i could use SD for further work.

pwhheeew. feel like a scorched steak.

[Paul Bertham]

Thank you Walter again for competent relpy!

as you wrote about the small amount of “Beta Tester” @ Apple we will never find a logic conclusion inbetween the “50k configurations”.

for my opinion: as long APPLE does support those “curlywhirly” format kitchen from developers and, and as long IF THEY (Developers and Manufacturers) are willed to face the truth about confusion about formats, we�ll never agree in this term.

Fact is – there is confusion. AND: it�s all about money.

No, we do not talk about murphys law…

There are just a few small little things to confess about truth and lies!

best regards,
Paul

[Paul Bertham]

it´s mostly about quality degradation.
if you work in AE and you don´t re-interpret your footage, the quality of your exported footage will change drastically (low).

and

of course Quicktime can screw up your complete Final Cut Suite and as you´ve already said, other Apps too.
Because quicktime is deeply implemented into the OS so it can even screw up your whole system.
I remember that one of the QT releases for exsmple caused Life Type Templates dissappearing magically – everything went f…ed up.

Try screwing around QT system libraries – by accident or not – and wonder if your mac will not boot anymore.

It remebers my somehow on IE and windows. you can´t get rid of it, otherwise throw your system into the trash.

[Paul Bertham]

Hi Walter,
Thank you for reply and sharing your thoughts and opinion with us.
i cannot reply to everything you have replied coz im busy to but here just a few things.

About Graphic Images and FCP:

https://web.mac.com/jb.net/PS-FCP/PixelTests.html

About Quicktime Player and Aperture Interpretation:

It seems that it does not make any sense to discuss about, but just for information – Quicktime player fools us around because of misinterpretation of the aperture. You have Four Modes: Classic, Clean, Production, Encoded Pixels.
Depending on how your Footage is interpreted by QT, quality changes. you mostly can see this in an vertical resolution loss (dirty edges, steps in greenscreen footage, etc.)
Thats why i wrote that you mostly have to work with square pixels in compositing software ans ALWAYS taking care of the interpretation of your footage you’re working on.

For example P2 Workflow 720p50.

FCP Logged P2 Footage is interpreted in quicktime with Aperture “Clean” and with an Pixel Aspect Ratio of 1248×702

Same P2 Footage that has been logged via “Raylight” shows no change in Aperture and a Pixel Aspect of 1280×720

these two differences are emerging drastically whe you work with Hi-res footage. You’ll see the difference if you test it.

Same BS with the correct or better say incorrect gamma interpretation in quicktime.

this in Absolutely inacceptable because my whole work relies to the architecture of quicktime.

As for P2 workflow: maybe in your NTSC world there’ll be less problems with that issue, but over here – if you do not use “Raylight” for transferring your P2 Footage – you’re merely F…ed

XDCAM-Files make troubles too.

Workflows (especially P2) are just complicated – and is frustrating lots of people who have started working with.

So far.
More to come soon.

Regards,
Paul

[Paul Bertham]

Hi,

its easy to explain.

AjA Tech support: “The Kona only supports +18dBu EU standard and +24dBu US standard but not the +15dBu German standard.”

means: AjA has only: SMPTE-ref(+24dbu) und den EBU-ref(+18dbu), so i ALWAYS have to re-adjust my audio and it’s driving me nuts.

but there are more and finally Blackmagic Design changed their minds after a longer “war” from german editors and made it possible to change your gain Analog and Doigital I/O settings in the control panel completely freely.
but this is only possible in Multibridge and HD Extreme Cards.

You have to know that there are a few funny jokers at AjA and BMD and they think they can do what THEY want not what the customer needs.

but hey, they’re both not the only manufacturers. take a look at “Motu” hardware, it will blow you away.

so far.