Steve Roberts
Forum Replies Created
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Are you sure it can’t be distorted?
Maybe the producer doesn’t care.
Maybe distortion would be cool.
Maybe you’re trying to solve a problem that isn’t really a problem …? -
Hmm. Yes. If I’m cutting audio, I go to an audio editing app, where I can really nail it.
I think that AE coders assumed that if you’re keyframing to a medium (video) that only resolves to frames, then sub-frame resolution would not be necessary.
Regarding Kevin’s solution, once you render back to the original frame rate, wouldn’t it look the same as when you were working in the original frame rate comp?
For example, if you want something to appear on frame 2.5 at 30fps, you go into a 60 fps comp and place it at frame 5. Now when you render that comp at 30fps, the thing will appear at frame 3…. the same result as if you snapped to frame 3 in a 30 fps comp. Try it.
The limit is the temporal resolution of the final render. Unless I’m missing something …
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Same here, but I often open the lossless movie in QT Pro and compress from there.
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Yes. You need to shoot with this sort of thing in mind.
The shadows need to be placed where you want, by moving the lights into the right position. To preview the effect on set, squint at the talent. This will reduce the visible detail in the shadows to your eye.
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Select all the tiffs in the timeline, move the current-time indicator (playhead) to frame 1 (not 0) and hit ]. Then sequence the tiffs.
BTW, “none” compression would make a jumpy quicktime because it’s too big for your drive to play back smoothly. Use Animation for sending the movie to another program (lossless quality) or maybe Photo-JPEG to play it back on the hard drive. regarding the ideal codec, it depends on what you want to do with the file after you render it.
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If there were an “AE lite”, or if Motion were available alone, or on Windows, things would be different. But, no.
Actually, Adobe offered something like an AE lite, but it died a quick death. So quick, I can’t remember what it was called. And I remember ICE boards, Fractal Expression and Photoshop before it had layers.
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Nope. Sorry. Someday, maybe.
(beat ya, Dave)
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Hmm … normally:
1. For luma matte, the B/W matte layer should be above the footage layer. Set the matte of the footage layer to luma matte to appear within a white shape, or inverted luma matte to appear within a black shape.
2. For alpha matte, the layer with alpha (check its interpretation in the project window — it may not have been created with an alpha) should be on top, while the footage layer set below, with its matte set to alpha (or inverted alpha) matte.Note: adjustment layers should normally not be used in this situation. Just in case you’re doing that.
It’s also possible that a shy (hidden) layer lies between the matte and footage — have you checked that?
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Indeed.
If that’s not it, maybe you have a Blackmagic card, and its previews are set to “more accurate”in the AE prefs? I think that was the culprit way back when. I could be wrong. Anyway, try setting it to “faster”. It makes no sense, but this is software we’re talking about.
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I think he’s looking for automatic banking on turns. Is there an expression for that?