Steve Roberts
Forum Replies Created
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Select the first one, hold down shift, select the last one, and hit the delete key.
Yes, it’s that easy. 🙂
Steve -
Hope it works for you. 🙂
Steve
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Hope it works for you. 🙂
Steve
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With expressions:
1. Make the camera’s Point of Interest (POI) and the null’s position properties visible in the timeline
2. alt-click on the POI’s stopwatch
3. drag the POI’s pickwhip to the null’s position property (the word “position”)
4. click anywhere else in the timeline to “seal” it and create the expression.Give it a go …
Steve -
With expressions:
1. Make the camera’s Point of Interest (POI) and the null’s position properties visible in the timeline
2. alt-click on the POI’s stopwatch
3. drag the POI’s pickwhip to the null’s position property (the word “position”)
4. click anywhere else in the timeline to “seal” it and create the expression.Give it a go …
Steve -
Looks like Trapcode Lux could probably do it. If not, you could try Trapcode 3D Stroke, with the repeater on. Maybe Zaxwerks Invigorator could do it, with blur …?
This sort of thing is best done within a 3D app, in my opinion. Volumetric lighting.
Give the Trapcode plugs a go,
Steve -
16-235 is the consensus for broadcast.
Most of us run the levels effect to bring things down to that. However, it’s not always necessary if the colours in your design are alrady safe. To check, change your comp’s background to some garish green colour, then run the broadcast safe filter, “keying out unsafe” in an adjustment layer above the whole comp. Look through your entire program, and if it’s mostly unsafe, run levels, but move the effect before (above) the safe filter in the effects stack. That way, the safe filter is checking the colours after you’ve run levels. Once satisfied, switch off the safe filter.
However, if you can change your colours directly (say, in a piece of AE text) and you only have one bit of offensive red in the show, don’t run levels on the whole thing. Just change your red so it’s less saturated — but you might have to run the safe filter until you get to know what is a safe, less saturated red.
And here’s a tip from Frank Capria: If a yellow is unsafe, try adding a bit of red to it so it moves toward orange a little. That’ll make it safe without desaturating it toward yucky green.
Steve
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If I have a camera that orbits an object, I’ll probably parent the camera to the null and rotate the null’s Y-rotation parameter. Then, if I need the camera to look around a bit as it orbits the object, I’ll tweak the camera’s rotation paramters. I suppose it’s “rotate the null for the gross rotation, rotate the camera for the fine rotation”.
That’s one way to do it …
Steve -
If I have a camera that orbits an object, I’ll probably parent the camera to the null and rotate the null’s Y-rotation parameter. Then, if I need the camera to look around a bit as it orbits the object, I’ll tweak the camera’s rotation paramters. I suppose it’s “rotate the null for the gross rotation, rotate the camera for the fine rotation”.
That’s one way to do it …
Steve -
The export menu is only for special situations. You need to select “composition>make movie” to open the Render Queue, which is where movies and stills are made 95% of the time. (99.5% in my case)
You probably want to choose the “Best Settings” preset for your Render Settings, but for the Output Module, you’ll choose “Video for Windows” format, then choose your codec under “Format Options”.
The Render Queue is very flexible and powerful. For more info, read the relevant sections in the help carefully.
Actually, AE is very flexible and powerful. Don’t be in a rush — a careful study of the manual will do you well.
Steve