Simon Bonner
Forum Replies Created
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So your final comp, the one that you rendered, is 4208×2360? If so, your problem is that your comp is just very big. Each frame has 9,930,880 pixels. Compare that to NTSC DVD footage: 720×480 = 345,600 pixels. A quick bit of maths would suggest that if your comp was smaller it would render out almost 29 times faster, in about 41 minutes, which sounds a bit more realistic. Is there any particular reason why you need such a huge video? If there is, you may have to live with the render time.
Simon Bonner
youtube.com/simonsaysFX -
If you’re going to play the vid on a tv (presumably via a dvd) you’ll need to use either 4:3 or 16:9 aspect ratio with non-square pixels. Those are the only formats dvd supports. Use the presets in AE. The image in the comp window will look distorted, but use the toggle aspect ratio switch in the comp panel (it’s there in AE 7 & CS3 but I’m not sure about 6.5). Whether you toggle it on or off won’t affect the final output, which will be fine in either case, it’s just to give you an impression of the final output inside of AE. Widescreen square pixel will always look right inside of AE, but you won’t be able to add it to a dvd project once you’ve rendered it, as far as I understand the issue.
I’ve not used final cut, so not sure about the aspect rations, but I would be surprised if they didn’t include all industry standards like Premiere / AE.
Simon Bonner
youtube.com/simonsaysFX -
You just import a prem proj in AE as you would any other footage, and then specify whether you want to import all timelines or just one.
However, if you’re using prem cs3 and AE 7, you might have some compatability issues.
Simon Bonner
youtube.com/simonsaysFX -
Try reimporting the rendered footage and hovering your cursor over a white area. Doe the info panel register RGB scores of 255? If so, there’s no problem with AE – it could just be a monitor problem. In that case, you could play with Adobe Gamma in your control panel to create a customised colour profile.
Simon Bonner
youtube.com/simonsaysFX -
Do you mean, your comps are not separated out into different layers like in AI? In the import dialogue box, change the ‘import as’ toggle down menu from ‘footage’ to ‘composition’. You’ll get a folder with the separate AI layer files in, and a comp with those layers nested into it.
Simon Bonner
youtube.com/simonsaysFX -
Rather than rendering an avi from premiere, I would make a smaller timeline containing the footage you want to play with and then import this timeline into AE as a new comp. Your fades will be maintained (replaced by opacity keyframes).
Precompose the two layers and then work on them separately. In you main comp, the fade will be as you want it. The ‘nets’ you talk about are known correctly as masks, so if you want to search for more info on that topic, mask is the word to use. Rotoscoping can be a pain, but here’s a great video tutorial that will help you work faster.
Remember to feather out the mask too (hit M twice with your layer selected).
Simon Bonner
youtube.com/simonsaysFX -
A lot of times this effect is a simple cut, and before cgi the was the only way to do it. What really sells the effect is the sound editing. If the sound is realistic, your viewers’ brains will fill in the visual stuff.
Simon Bonner
youtube.com/simonsaysFX -
1) place a keyframe in the position property for footage A.
2) skip forward a few frames (as long a duration as you want the transition to take).
3) change the X dimension of the position property until footage A is just off screen.
4) add footage B to the comp.
5) parent footage B to footage A. If the parenting pickwhip is not visible, right click the title bar of the timeline panel and choose columns / parent.
6) turn on motion blur for footage A and B and the comp.
7) add standard wooshy sound effect!Simon Bonner
youtube.com/simonsaysFX -
Perhaps use the “pan behind tool” (in the toolbar, or press Y) to move the anchor point of the object to the corner. Though I think parenting to an object modified in this way would result in behaviour similar if not identical to parenting an unmodified layer.
Simon Bonner
youtube.com/simonsaysFX -
Thanks for the tip, however it doesn’t toggle back and forth between the two modes (title bar / no title bar).
Since I started this thread my title bar has miraculously reappeared. Once again I have no idea how this happened, so I’d still like to know how to toggle between the two states in case I accidentally remove the title bar again!
Simon Bonner
youtube.com/simonsaysFX