[Steve Bentley]

You can set the frame rate in the comp settings (cntrl K). But you can’t change that interactively. You can change the fps after you start working on the comp but be warned that it may mess with where footage ends and how animations happen. After effects for the most part doesn’t care about frames per second – it just sees a frame as a frame and renders out every frame in the time line. The FPS setting just tells AE how fast to ripple through those frames.
But it also tells AE how to consider footage that isn’t at the same fps rate as the comp. A 15fps movie put into a 30fps comp can appear to be half as long as the length it ran in say something like QT movie player. Because AE is looking at say 10 seconds of footage (at 15fps that’s 150 frames) and you are putting that into a 30 fps comp where AE expects 10 seconds to be 300 frames, so AE can take every frame of that 150 and put it in every frame “slot” of the 30fps comp, and the footage would end at the half way mark.
But you can alter this behavior. You can tell AE to “interpret footage” and assume that its at 15fps or 30 fps or whatever. Tell it to assume the footage is at 15fps and the 10 second clip will last 300 frames in your 30fps time line, but with every frame doubled to stretch the time out. Or you can say interpret at 30 fps and you will get what happens in the first example above. (AE tends to import footage and “interpret as” based on what you did last time it was open)
You can also do the opposite and tell AE to imagine the clip is running at 60 fps and then AE will make the clip only last 1/4 of the 10 second 30fps comp length.

Think about it as “how do you want every single frame of your source footage (no matter the frame rate) to placed in each frame “slot” in your project.
I find it also helpful to not work in Minutes and seconds in the AE comp and work in frames instead. This also helps with the dreaded Zero frame problem and with a number of the time warping effects that rely on frame information and with expressions that often work better with frame information instead of 0.033 of second.
Music files are a little different in that they respect the fps rate of the comp – music files don’t really have frames or frames per second in the movie sense. So a 1 minute music file will last 1 minute in your comp’s timeline no matter what fps the comp is set to.

[Steve Bentley]

I think what happened: it was one of those forums that feeds another forum (AE expression techiques that also shows up in AE general) I did find my post today in one of the forums but not in the one I posted it in. So it’s showing up in the correct thread but not the mirror of that thread. All good though because the user I was helping saw it so that’s the important thing.

[Steve Bentley]

First remember to turn on the AE comp’s motion blur button and not just the layer’s. Then try jacking the shutter angle up to something silly like 600 which will overdo the blur. Premier should have nothing to do with the blur except for sending the rotation keyframes into AE. Are you rendering out of AE and then importing the movie back into premier or just importing the AE project back into Premier?
It might be your pipeline thats at issue. I don’t think you can import premier into AE and then import that AE project back into premier – that would be like the snake that eats its own tail.

[Steve Bentley]

There is an “On” port in the Pstorm emitter (left side) – just hook a constant node to that set to boolean and animate this node going from 0 to 1 on the frame you want the particles to start. You might even be able to keyframe the “on” port in the attribute manager of the pstorm node.

[Steve Bentley]

Broadcast video cams don’t really have shutters per se. They do blur but not in the traditional movie shutter sense. I was thinking it just needed more blur to match the pegs and you can either increase it with a motion blur effect or just jack up the shutter angle and let AE’s built in blur do the trick.
If you can match the initial speed of the wheel, use the animation curve editor to taper that speed out to where the real wheel stops (if you can) it should be fairly linear right up to the end where it will be a curve.

[Steve Bentley]

ya that looks like you’ve got it. You might want to make the AE comp have a 270 degree shutter angle instead of 180 in the advanced tab of the comp settings (cntlK); it seems to need a bit more blur to match the pegs going around. The spin of the wedges of the wheel dont really match the spin of the real wheel either so you might want to tweak your acceleration curve of the rotation.

[Steve Bentley]

post just the ae file? The footage will be missing but I’ll be able to tell whats going on.

[Steve Bentley]

Ah ok. The stretch tool might not be compatible with how ae does it.

[Steve Bentley]

Like this (the image uploader failed so I had to inlcude it as a file)
12272_edgematte.jpg.zip

[Steve Bentley]

I finally had a sec to pull a key off the still you sent. Is the screen being buffeted by a fan by any chance? I think the dancing edges are the creases in the screen showing up and perhaps fluttering. You may need to use the blur feature in Keylight to pre blur the screen to diminish those.
Or you can pull two keys one for the dark greens and one for light. Or pull two keys one for the body of the person (clamp the heck out of it) and then do a roto matte (very loose) around her head, make a thick fuzzy line out of that mask and then use that as a mask. (basically a halo of the edge of her hair). Combine that with a thin green key that lets some of the screen show through. Then you can have a much less dense matte and you can screen that element in over top of the main chunky matte of her. Because its blonde hair it screens well and lets you keep all those split ends even though the matte isn’t great/solid.