Steve Roberts
Forum Replies Created
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Thanks for getting back to us. It always helps to hear solutions.
Good luck on the next one, coming in 5 … 4… 3 … 🙂
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Investment? Computers? Hah! 🙂
Get the fastest box for your (no doubt, already chosen) platform. On OSX, that would be an Eight-core. Wait until Adobe introduces a CS3 update for Leopard … so you might have to wait to purchase a new Macpro. On Windows (XP, of course), I’ve heard Boxx workstations are good, but you should probably check with the 3D app guys on that. Keep in mind, OpenGL doesn’t matter with AE at this time — we switch it off.
If you haven’t chosen a platform, I’d say let the apps choose the platform, probably the NLE, since they tend to be pickier about hardware.
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Sorry, I can’t help except to say that if you ask anybody here, it’s a good bet that they’ve switched OpenGL off. Yes, it’s bad that Adobe hasn’t improved the OpenGL implementation, but so it goes.
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Initially, AE could only preview at full frame rate if you actually rendered a test video. The spacebar preview was a poor substitute. Then RAM preview became available, but spacebar previews were still a poor substitute. However, with no effects applied, and using today’s processors, the faster hard drive begins to come into play, apparently allowing faster spacebar previews as AE accesses frames on the drive and does just a little bit of rendering.
If you can get fast previews by hitting the spacebar, count yourself lucky. In your case, it’s probably the faster hard drive.
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I, for one, concur.
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[Richard Chenoweth] “I’m guessing that importing music directly from iTunes purchase is just not possible. Can anyone confirm this?”
Yes. This is true. It’s copy protection on Apple’s part.
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I’m in NTSC-land, so if I’m wrong, somebody else will chime in:
1. You want the PAL D1/DV preset in AE. This is the comp into which you will drag your imported C4D sequences, and this is the comp you will render.
In C4D, you can either work at (manual) 720×576, pixel 1.42 to 1 … or (manual) 1024×576, pixel 1 to 1. The latter might be safer. nevertheless, both should fit the AE preset (above) automatically.2. Ouch! It all depends on the layers. If you change a layer’s size, the mask will change with it. I would make the 4:3 comp a (16:9) PAL widescreen square pixel comp. Then I’d manually adjust the layers so they look right, then drop that square pixel comp into a PAL widescreen (non-square pixel) comp for rendering. Beyond that, I can’t say how to approach your revision.
Hope that helps.
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If you’ve searched the posts, then you may have found that there’s no solution short of changing the speed/direction of the animation or introducing distractions. I’m of the opinion that it’s one of those optical phenomena best avoided. Like panning along a picket fence.
Keep in mind, most people don’t notice the judder. Here’s hoping the client doesn’t. I’m sorry to say that, but I haven’t seen a real solution yet, and I don’t think there’s likely to be one, until we all switch to 60+ fps or something. Hah!
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I’ve just bought a Panasonic BT-LH2600W LCD monitor. Research indicated that it’s in the sweet spot of price and performance for most applications short of high-end color correction ($$$$$). It’s quite nice, especially showing our 720P material pixel-per-pixel.
You might want to ask in the Broadcast Design COW as well.
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You know …
… you might be able to use Particular (if you have it) and set it to emit particles along the camera path. The particle (custom) would be a comp consisting of the still images, one pfer frame. So Particular would emit these frames along the path of the camera.
Then you’d set the physics time (sorry, not at the AE workstation) to zero at some point so the stills are frozen in position.
Of course, this assumes the stills are to be spaced evenly apart. Anyway, it’s just a thought. 🙂