[Steve Roberts]

Well …

30p means: shot at 29.97 fps, with each frame shot as a full frame, every 1/30th of a second. 30p means 30 images per second, progressive.

24p means: shot at 23.976 fps, with each frame shot as a full frame every 1/24th of a second. Then the frames are split and interlaced together in a process called “pulldown” to make 29.97 fps footage on tape. This process can be reversed in post — it is called “removing pulldown”.

60i means: shot at 29.97 fps, but each frame is shot as every other line, every 1/60th of a second. Each of these “half-frames” would look as if you’re seeing the image through venetian blinds. Then the images are interlaced together. 60i means 60 images per second, interlaced. It’s really 59.94. On TV, these two images are played in quick succession, giving the impression of smoother motion. It’s the “video look” as opposed to the “film look” to many.

(by the way, when people say “30” and “60” with video, they really mean “29.97” and “59.94”)

So if you separate those interlaced images, then fill in the missing lines, you’ll have 60 full images per second. Play them at 29.97 frames per second and you have slo-mo.

Does that make sense?

[Steve Roberts]

There is no automated way to create splines centred on text. That information is not contained within the font, and auto-trace or anything similar would create outlines around the text.

Even if you used a thin font or simple choker, any auto-tracing would create an outline around the text.

You have to draw the splines by hand.

If you thought it would save time, you could draw a bunch of masks (one for each letter) on a solid, then copy/paste them and move them into position over the text on a solid, then animate the stroke effect (using a wide stroke and “all masks”) with this solid as a track matte over the text.

[Steve Roberts]

Hey, it happens. 🙂

[Steve Roberts]

I Googled “after effects”, “CMAP” and “error”, which led to this post:

https://www.adobeforums.com/cgi-bin/webx/.3bbdb0a7

You may find more. This one describes an issue with the Creative Suite, and may require uninstalling those apps.

Sorry I couldn’t be more helpful.

[Steve Roberts]

Bigger ones allow you finer control, since your hand moves a smaller distance. You need space on your desktop though.

I use the 6×9. The 9×12 is nice, but too big for this desk.

I like to use a mouse sometimes, especially for video editing, where precise double-clicking is necessary. Sometimes double-tapping with the pen causes things to move if the pen slips.

I’ve found that they work well with double monitors, but I don’t know if they will work well with all systems. I used one with a double-monitor PC setup in 1998. I would Google “wacom” and your graphics card, or e-mail Wacom to make sure.

[Steve Roberts]

The actor’s footage layer should be a 2D layer, not a 3D layer. So as long as the actor’s footage layer is above the floor layer in the timeline stack, he will not step through it.

Now if you have perspective issues, with no markers on the greenscreen floor, you have to eyeball the placement and rotation of the 3D floor.

Does that make sense?

[Steve Roberts]

I’m not sure what you want. After Effects makes video clips that have no relationship to the current time. Those clips cannot access any signal from a clock and update it in real time.

I think you need something like a Flash or Javascript applet on a computer hooked up to the Internet, no?

[Steve Roberts]

I’d check the Cinematography COW forum first.

[Steve Roberts]

I’d ask the client why they want that number. Epontius is right, but there may be a reason why they want 59.94fps.

For instance, 3D animation is sometimes rendered 59.94 progressive when the 3D app can’t handle interlacing. Maybe they’ve been told AE can’t render interlaced.
Maybe the client was told that “for best quality, you should get 59.94 fps”.

Give ’em a call.

[Steve Roberts]

Search the COW for “muzzle flash” and “detonationfilms”.

Google “muzzle flash” and “after effects”. Tip: include “after effects” in Google searches for effects that will be created with AE.

Gunshot wounds are best done practically, with makeup and/or squibs. Anything else looks cheap and fake … unless the victim is a photorealistically-textured 3D model. Recall Hugo Weaving’s face distorting when punched in the third Matrix movie. That was a CG head.

Anybody else?