[Sam Moulton]

You shouldn’t have the problem if you have the latest version of Particular and are in CS3. At least I don’t. If you’re in 7 try going to the advanced tab in your comp settings and select preserve frame rate when nested. This should solve the problem and you should be able to use 99fps in your particle pre-comp

[Sam Moulton]

have you looked at this tutorial?

https://library.creativecow.net/articles/gerard_rick/AEWeekly1.php

[Sam Moulton]

today they use both motion control cameras and rigs and motion tracking. Actually matching the camera moves is the easy part compared with the technical aspects of matching lighting, grain, color grading, and all the other elements that make a shot believable. The least expensive way to track is with something like Moca or Synth Eyes. The rest just takes lots of patience and skill.

[Sam Moulton]

in most cases the codec you choose won’t allow you to embed a par. You can in QTPro in the Movie Properties, but you can’t on render. If you’re footage isn’t looking right then either you have PAR correction turned off in AE’s comp window or the footage isn’t properly interpreted in your NLE, AE or QT. DV footage is limited to one frame size, the par only figures out how the footage is mixed with existing footage. The pixels don’t change, only they way they are displayed and mixed with other sources.

hope that’s clear.

[Sam Moulton]

that sucks…

[Sam Moulton]

You can’t. You can however create a preset and save that.

[Sam Moulton]

I work with HDV footage every day but it is converted on capture to either the Apple Intermediate codec or Apple Pro Rez 422. I prefer proRez 422. If you’re on a Mac I’d look there. There’s a white paper on the codec that you’ll find by searching on google.

I’ve also worked a lot with HDV that’s been converted to the DVC Pro Hd and to Black Magic codecs. I did one time work with HDV that used the Cineform Codec on a PC and it was great.

The ProRez 422 codec and the Cineform codecs for windows don’t have the storage or raid requirements that other codecs require and the quality seems to hold up very well.

The hardest and most expensive part is getting your work out to an HD format that broadcast clients accept. You’re talking about a hundred grand in equipment if you want to do it in house. Fortunately there are lots of post houses and there are getting to be more and more others that will accept digital files. You just have to ask them exactly what format they want and provide that. All that’s required is a stack of DVD data disks or some portable drives. I’ve even ftp transferred tv spots over the net.

Hope this helps. The only thing AE really demands is a codec that was designed for editing line the ones i’ve mentioned for video, image sequences, and enough memory to process the frame size. I’d stay away until you have at least 4GB of ram.

Good luck and welcome to the fray . . .

[Sam Moulton]

I don’t agree…
The process is called roto.

Go to effectscorner dot com, look for the blog then click on rotoscoping part 1 and part 2. You’ll see exactly how to do this in AE. The example uses commotion (a great roto tool that’s not sold anymore) but you can do it in AE with no trouble.

[Sam Moulton]

what is your fcp frame size? the comp height should match.

[Sam Moulton]

Can you stabilize just using the upper right dot starting one frame after it enters the shot?

My tracking area includes the corner of the card. Once that is stabilized just go back to the comp and drag the footage to the middle of the frame, pre-compose that and then run tracking again to remove the rotation. You may even be able to do the corner pin here.

After you’ve got the corner pin applied copy the corner pin layer and put it in a new comp on top of your original footage.

If you then search the cow, there was a recent thread on how to reverse motion and rotation from tracking using expressions. Apply those techniques to your corner pinned layer and it should match up perfectly. You then have to manually add a couple of keyframes to the start and end of the clip where the card is out of frame.

Sorry, I already deleted the project and the clip and haven’t got time to recreate it and send it by e-mail. If you can stabilize the shot you should have no problem with the rest.