Stuart Elith
Forum Replies Created
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You need to set your render to include sound, it defaults to no-sound in AE.
In the Render Queue, select the Output Module and at the bottom there is a section for Audio Output. You’ll just need to activate this (and customise any settings you want). -
You’ll have to do some masking in that case, if the colors are distributed throughout the footage. Wouldn’t have to be very exact in many cases, so it’s not too bad.
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Depending on the structure of your project, you might be able to precomp your globe and then add any effects you like in the outer composition… you can colorize/tint it that way without it interfering with the texture from the transparency modes.
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Indeed!
What Joey’s talking about is using the File > Export command… don’t do it! (I’m not saying that you necessarily WERE…)
You should always render your work out through the render queue, where you have control over the settings and all that 🙂
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Nope.
(of course, I could very well be wrong, but i have not heard of this before) 🙂
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I don’t know what’s going on, but here’s 2 things to check :
1) are you doing your RAM preview at full resolution? Do you have the switches on for anything you’re using such as motion blur, Draft 3D turned OFF…
2) if so, try saving the RAM preview out and see what happens (go to Composition > save RAM preview).
Also, you may like to clarify for us what you mean by 3D objects. Do you mean 3D layers, or have you imported video from a 3D render?
If you are using 3D layers, do you have depth of field turned on? If the layers are outside the focus area, they will start to blur. -
Ahh right. Well, i can’t really think of a more elegant solution :/
This is the kind of thing that someone may have written a script to deal with. Scripts are great ways to extend AE, particularly in workflow/useability stuff like this. I had a quick skim and didn’t find anything, but if you search for after effects scripts you may find something. AEnhancers, aescripts and redefinery are all great resources.
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You could use CC Jaws (also found in the transition menu) and set the Height property to 0, so that the wipes aren’t spiky or blocky (which is what it does by default).
It’s worth taking a few minutes just to play with the different transition options… I don’t tend to use them much (particularly as transitions) but you might find something interesting, and they can be used in other ways too. Doesn’t take long to get a basic familarity with them 🙂
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Why do you want them to be equidistant? This may help us to understand what you are trying to achieve, and therefore, a solution… I’m not sure what you’re even doing, is it rotoscoping footage? Drawing abstract shapes?
Equidistant keyframes will not necessarily give you a smoother result – when roto’ing, one of the main methods I use is to find where the movement/motion changes direction, and set these up as the first key frames. These will not usually be evenly spaced out along the clip.
Is there any reason you can’t just drag them to be evenly spaced?
If you wanted it to be precisely even, you could go to the start of your clip, position the first keyframe, go to the next frame, position your next, and put them all on subsequent frames, then select them all, hold Alt and drag out the last one – this will stretch them all out.But I don’t see what that would achieve… the mask shapes won’t match up with the footage. Assuming you are even trying to roto something…
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Dan, the technique Todd suggested does work, it’s very useful for shots such as the one you are working on, where there are no good tracks for the whole shot, or even if an actor obscures the tracking point for part of a shot…
If you look at the link he provided, it explains how to do it – in the “Correct drifting by adjusting the feature and search regions” section.
The technique is not just for drifting, but also changing tracking point.
Basically you hold ALT when you drag to the new point (the arrow cursor will become a hollow arrow instead of black-filled). That’s it, really 🙂