[Peter O’connell]

Hi, try splitting your photoshop file into 4 quarters and then line those 4 images back up in AE in the comp where you are doing the scale so that it appears to be the original image.
Pete

Rogue Keyframe
Feature Film Compositing

[Peter O’connell]

Hi, if you open a DPX file in a text editing program, there is likely some timecode and frame number info on the very first line or 2 that you might be able to use that is human readable.
Pete

Rogue Keyframe
Feature Film Compositing

[Peter O’connell]

Pas’d probleme mon chum.
Pete

Rogue Keyframe
Feature Film Compositing

[Peter O’connell]

Hola Emiliano, you could do it in Mocha for AE.

Pete

Rogue Keyframe
Feature Film Compositing

[Peter O’connell]

Hi Sacha, you could try something like this on a text layer directly above the sequence. It might need to be adjusted depending on the padding and the frame rate.
Bonne Chance, la.


function pad(number, length) {

var str = '' + number;
while (str.length < length) { str = '0' + str; } return str; } var theLayerName = thisComp.layer(index+1).name; var theLayerNameSplit = theLayerName.split('.'); theLayerNameSplit[0] + '.' + pad((time*24),4) + '.tiff';

Rogue Keyframe
Feature Film Compositing

[Peter O’connell]

Hi, using a scripting language would do the trick for this kind of thing. The python code below, for example, makes a list of all the files in the given directory and sees if the padded number of each subsequent file is 1 more that the previous (given a padding of 4, eg.”078_080_comp_v09.0001.tga”). I can’t post this code to the cow as text because of the way the cow handles white spaces, unfortunately, but here is a screen grab. Hope this helps.

Rogue Keyframe
Feature Film Compositing

[Peter O’connell]

Hi, try going to the last frame and hitting command option comma.
Pete

Rogue Keyframe
Feature Film Compositing

[Peter O’connell]

Hi. Make a solid with the tracker data on it. Put the mask of the actor on that layer. The mask will move along with the tracker data. Put the actor layer directly below this layer and set the actor layer’s track matte to “Alpha Matte”. Now the actor is cut out of the background. Put the Square under this layer and then put the original footage under that.
Hope this helps
Pete

Rogue Keyframe
Feature Film Compositing

[Peter O’connell]

Hi, the best results I’ve seen for that kind of thing is Shake’s steadycam node. Magic Bullet Steady by Red Giant Software does that too (although I’ve never used it), and Boris has a steadiness plugin too, called optical stabilizer.
Hope this helps
Pete

Rogue Keyframe
Feature Film Compositing

[Peter O’connell]

Hi, you can do so with a few expressions between the layer with the tracker data and the layer you want to invert the tracker data for, like so:
anchor point = position
position = anchor point
rotation = rotation*-1
scale = 10000/scale

Pete

roguekeyframe.com

PS: try tracking in Mocha