Steve Blacker
Forum Replies Created
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Sounds like you need to move the anchor point. You can use the pan-behind tool to do that. Press the “Y” key on your keyboard to enable the pan-behind tool, then move the anchor point to the centre of your object. Press “V” to get back to your normal selection tool and you should now be good to go.
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Yes, but whether or not I’d use a matte choker would totally depend on the footage. And yes, I was referring to shrinking the screen matte inside Keylight, as that will usually help get rid of any nasty edges. But there are so many factors in getting a good key – your footage format/quality being the first, and then all the settings in Keylight. It would help to see a screenshot of your key and a screenshot of your keylight settings. Although I suspect it might be your source footage that’s the issue.
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From the Keylight manual:
Use this switch to set the premultiplication of the RGB channels in the output image. If turned off, the RGB values will be multiplied by the alpha channel, thus transparent areas are always black, and semi-transparent areas are dark. If turned on, the RGB values of the output image will be not multiplied by the alpha, thus semi-transparent pixels will have full brightness in the RGB channels.
If colour correcting the image after applying Keylight you should switch on Unpremultiply Result.
If you’re getting a white edge, I would try shrinking the matte a little in keylight, or try a matte choker first.
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Also, sometimes it makes things clearer in the graph editor if you right click on the camera’s position parameter and separate the x,y,z, values.
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After Effects doesn’t use CUDA at all, but if you’re using Premiere Pro it might be worth a look.
I have the same basic system with 32GB RAM and a 1GB ATI Radeon 5870 HD card. I use After Effects pretty heavily and Final Cut Pro X with no issues. YMMV.
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Can’t go wrong with Trapcode stuff. Check out Red Giant for all kinds of bundles.
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You can also animate the scale of the null to shrink over time, so the attached light spins closer and closer to the null.
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Animate them all at the same time with the movement you want, then offset the keyframes using sequence layers, perhaps?
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Your thinking of some sort of “live update” of the Pro Tools session inside AE? Nothing doing there, as far as I know. Paul’s suggestion is the way to go.