[Tristan Summers]

I am not sure you ARE understanding things properly.

I would duplicate the person image and use tha as the matte for the wavy add layer.

That is what you would do in any compositing software to limit the edges.

I would Change the Transfer Mode of the wavy lines to Preserve Luminosity, then add a Shift Channels effect and take the alpha from luminosity, which is a nicer way to do it.

[Tristan Summers]

Also worth mentioning that the native data workflow is incredibly slow, heavyweight and clunky. I would definitely try Dataclay which is just so much more responsive and useable.

I think it is probably reading in the CSV data and carving it out in stone with a blunt chisel!

Assume you have an nvme OS, Storage and Cache drive? Helps with saving. A lot.

I have also found turning off Multi frame rendering speeds up expressions considerably.

[Tristan Summers]

Right now you will probably be fine with a base model Studio Max.

It is just a shame you can’t upgrade later, but you never know what OWC magic might happen.

Anything above the base model you are just over-paying mac tax in bucket loads.

FCP and Resolve are optimised for the M1 and always recommend transcoding to Pro Res anyway

Personally I am mostly After Effects and need RAM so won’t be jumping back Mac wards anytime soon. 128GB is actually NOT a lot of RAM these days and you can only get that with the Ultra. 64GB is fine for editing, but not for compositing and 3d really.

I also like to pick my processor and GPU , and run a decklink at proper throughput and dante card and nvme raid so prefer threadripper Pro, which, for the same money as the basic level Studio suits me better, but only just, and only because after 2013 I will never trust my business to Infinite Loopagain.

But that isn’t to say the Studio isn’t fast and does what it does well.

[Tristan Summers]

I do it by adding an invisible | to the beginning and end and kerning the first one outside the box.

Use an opacity animator, index 1, offset 1, to hide the characters. | Usually covers ascender and descender height.

I’ve also used ” to set the top right.

This way means you can add text boxes easily to the top and bottom

[Tristan Summers]

With a breakout box you can actually calibrate it properly. With a black magic one you can even use resolve.

Running three displays probably uses more pcie lanes than the processor has and you need them for any other thunderbolt devices. You could check if Apple bothered to tell you more details about their processors

People do it a lot and it seems to work for them. Been in loads of studios with 2 EXTRA UHD monitors on an iMac and hundreds of thunderbolt drives and converters. But that is really really asking for trouble.

[Tristan Summers]

I had to install. Uninstall. Reinstall and restart before resolve studio would open a project when i updated to 17.3 and 17.4.

I copied the .exe from the zip to the desktop and extracted/installed getting there.

[Tristan Summers]

Thanks for this, helped me. Why can’t it work on continuously rasterised?

Maybe an opportunity to reiterate the process of operations?

Layer sized effect can’t work if comp bleeding off edges?

[Tristan Summers]

So.

Your final deliverable will be 8 bit.

What ever it is finally viewed on will be 8bit.

Ideally you should have AE as a 32 bit project but the working space should be set to Rec709.

That way you will not be creating saturation that can never be in the final rec709 deliverable

Premiere works in Rec 709 by default. It is faking and fudging it HDR workflows

You don’t need to work in 8 bit AE project, keep it 16 or 32

Your system can handle it fine, just get as much RAM as you can, and maybe get a second NVME drive for cache

Export as Pro Res 4444 as RGB+Alpha and Trillions+ but be aware that this is full range RGB and your final video will probably be video range

You now have 10 bit clips with alpha that Premiere should interpret correctly

PNG are a bit didgy and the gamma gets misinterpreted a lot

Tiffs or EXR can be 32 bit but you don’t really ever need that and your system prtobably can’t play them properly

If you export Pro Res 422HQ Masters from Premiere and use AME to encode deliverables you should be seeing what you want. You should be judging on an extrernal monitor, ideally via decklink.

Be aware the viewer in Premiere is usually wrong.

In a year or so HDR workflows will mature and you will be able to have wider colour gamut RGB video deliverables but at the moment it is far far safer to stick to Rec709.

[Tristan Summers]

transcode to pro res and you can probably run it on your iWatch. Leave it as h264 and you will need a fast processor. smoothest playback I got was from a 4x ioFX raid0.

currently I would say (as in , if my machine died today, I would buy!)…

Processor : Threadripper pro 3995

RAM: 128GB

GPU: RTX 3080

Storage : 4 x Corsair MP600 RAID 0

Decklink 4K Extreme

Is a good place to start!

MOBO for the threadripper Pro should allow quad channel Ram and throughput to RAID should be pure PCIe

Bottom line. If it is laggy you need to transcode. Camera compressed data needs a fast processor with a large cache

side note: Afterburner card only helps with Pro Res Raw.

[Tristan Summers]

Now trying to adapt it to be a bounce back to match an ease and whizz keyframe anim.
TRying to get my head round how a function works vs keyframes