Richard Herd
Forum Replies Created
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[Brent Taylor] “epresent the waveform WITH the effects you’ve applied?”
Not unless you render and reimport.
Also please note audition has some tools more suited to plosives and hisses and a very good way to deal with Automatic Gain that many dSLRs use.
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[Oliver Smith] “producing a dance show DVD”
There are a lot of intellectual property rights involved. And the editor and producer have to be careful of contributory infringement. Basically, you need the proper licenses in order to distribute the DVD. The amount of stuff is so painfully full of legalese, you really need a lawyer who specializes in that.
Having said that if this is more “my kids are in a show and I’m filming it,” then that is a bit different because your risk position changes considerably — doesn’t make it legal. Please also note I am in the US.
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[Eric Chard] “Is there a way to get AE to replace ALL the layers that were in the previous increment with the new, incremented PSD”
I’m not following you there. Why isn’t AE changing the layers as you save the PSD? That’s the way it is designed to work?
If you want to replace a PSD file right click it in the Project pane and choose Replace Footage file. It will get tricky from there based on how meticulous you are with naming your layers. Be sure that your iterations of your PSD file have the exact same layer names as the next version and so on. Even if you decide to not use layers, then simply turn them off, or make them empty, but keep them in the exact same order with the exact same names.
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[Adrian Graham-Smith] “Seems like an After Effects quirk to me rather than a deliberate feature”
It’s a deliberate feature in the render order: SMET — source, mask, effects, transform.
Imagine if the masks were not first! Yikes!
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One good tip is to pre comp your illustrator files.
Select the file. Choose Layer > Pre-Compose. Now try applying your effect to the pre comp.
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[Eric Chard] “the mouse is so slow”
Try a Wacom tablet. I find that it’s way better in AE. I often have my left hand on the keyboard and my right hand with pen on the wacom.
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From the beginning…
1. Import the footage by using the Media Browser, navigate to the footage and drag it into the project pane.
2. Right click a piece of footage and choose “New Sequence from Clip”
3. Edit.
4. Now that you’re done editing, File > Export > Media, and that will open a new dialogue box. In that box, choose the output settings you want.
Note if you want to work in a more FCP7 or Avid style workflow, then you start in an application called Prelude.
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[Mark Schubb] “hopefully will get a rough cut done sooner than a month”
Managing the deliverable is important too. It’s always better to under promise and over deliver. If you say it will take a month and turn it in in 2 weeks, then you’re a hero. If you say it will take a week, and it takes 2 weeks, you’re a goat.
Also let us know when you’re ready for the audio sound design and mastering. It can be more detailed than the picture edit. We call it gain staging.
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What would happen if you added an additional kick drum, say a double-bass the last 1/4 note, every other bar? Or some reverb? Or some flange. How about more cow bell?
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You’re kind of going about it all wrong.
First create all your book pages, making sure they are all the exact same size pre comp. Then put all the precomps into a Master Comp. This can take a bit of time so that it looks pretty.
Then select all the layers, first turn them to 3D (it’s a little box looking icon) and hit letter “a” to reveal the anchor point, or twirl down the transform twirly. Then move the anchor point to the very far left edge. This will also move your comp/layers, but that’s okay because we will then move the Position parameter, back to the middle of the comp viewer.
Moving the anchor point is important because that will move the “hinge” for the Y rotation parameter. From here, you can key frame the Y rotation to make things appear to turn.