[Tyler Paul]

Thanks!

[Tyler Paul]

I’m in the process of doing the effects and final color correction for a friends film. He made the error of capturing at 30i and then editing before I ever got the footage. I’m sending him an e-mail trying to explain this whole pulldown thing but since it’s new to me as well I wanted to make sure I got everything right. And to make sure it he can understand it.

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You shot at a framerate of 24p.
P = Progressive = it’s not intelaced.

When you captured the footage to your harddrive you converted it to the framerate of 30i and it automatically applied an intelaced pulldown. 30i with a pulldown is really only partially interlaced.

A pulldown fills in additional non-existant frames with interlaced duplicates of the existing frames.

There is a five letter code system to represent the “organization” of the pulldown.

W=Progressive
S=interlaced

Possible combinations are WWWSS, WWSSW, SWWWS, ETC

WWWSS = Full Frame, Full Frame, Full Frame, Interlaced Frame, Interlaced Frame
Then repeats that for the next five frames

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First thing to remember. If you shoot in 24p you should keep it at 24p until your finished. Look into the settings of whatever you use to capture and see if you can’t adjust that.

Secondly, if it has already been converted to 30i with pulldown then you should remove the pulldown before editing. This will replace the interlaced frames with duplicates frames. You do this because if you edit two pieces of pulldowned footage next to each other it will most likely screw with the order of the pulldowns. That’ll make it impossible to deinterlace correctly. This is a problem that I came across in editing Mercedes Ray. Also, this is PART of what caused the jitters. The pulldown would be correct for some of the shots but get screwed up when it cuts to the next shot.

When I tried rendering down to native DV settings without deinterlacing your footage I still saw a bit of jitter. That was because native DV is 30i, fully interlaced. It was rendering pulldowned footage (partially interlaced) into a fully interlaced format and those partially interlaced frames would then be re-interlaced to spread over about four frames I reckon. I just started rendering to DV 30p which should preserve the pulldown…..

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So…
Do I understand all this correctly? I couldn’t get rid of the pulldown because it was edited with the pulldown. Should rendering down to 30p actually preserve pulldown since (I assume) AE treats a comp as progressive? Or was the jittering I saw when rendering to down to 30i just in my head?

[Tyler Paul]

To make the foil look shiny I’d try making a masked duplicate of the foiled area and set it’s blend mode to add. Adjust the opacity. To animate it I’d maybe add colorama with a gold colored gradient and animate it’s rotation. This should make the foil look like the light source is moving as dark parts become light and light parts become dark.

I wish I had AE in this edit bay so I could test it out.

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“Life Should Come With Backround Music”

-Brown Sugar Studios-

Tyler Paul’s Toonificator V3.2 – Example Clip

[Tyler Paul]

I just had a neat little thought. There is an expression that calculates the distance between two objects (I don’t feel like searching for it). You could make your layers 3D and apply that expression to magnify effect. When you move the magnify glass(null layer) away from the background, it will increase the magnification.

Anyone know that expression?

And would I enounter a problem with the mask size? I don’t think so.

[Tyler Paul]

I use http://www.SoundDogs.com

tons of stuff there

[Tyler Paul]

Effects > Keying > Difference Matte

[Tyler Paul]

Ooops, sorry it took so long to reply to this. I’ll explain the best I can without pictures. This is not following there actual video. I’m making this up as I go.

Here’s what we’ll make.
The first three words appearing, rotate and slide back as the following two words are rotated and slide into position. You’ll follow an animated bar as the text slides off screen. The final three words appear just above the bar.

COMP #1 (720X480)= First three words appearing
COMP #2 (1440X480)= The following two words and animated bar that moves to the right
COMP #3 (720X480)= Last three words

create your control null.

Lay down COMP #1 with the first three words appearing with the script. Parent it to the null.

now you can animate the null with a 90 degree turn and push it back into Z space about a 200 hundred pixels. COMP #1 will then rotate and slide backwards with the null.

now place COMP #2 where you would like it to end up in regards to the new position of COMP #1. Parent it to the null.

(if you scrub backwards, you will see COMP #1 rotate back to it’s original position as COMP #2 moves behind the camara…. in theory)

COMP #2 has the animated bar that moves right. So animate the null (with the null, all elements will move) to follow that bar until all the words move off the left side of the screen leaving only the bar in the shot.

Place COMP #3 where you would like it in regards to the animated bar. Parent it to the null.

Do you get how it works?

[Tyler Paul]

Ya, I always use seperate comps for each element. It keeps things organized. Also, instead of moving the camera I’d instead parent each element to a null object.

Place your elements where you’d like them in the first shot.
Parent it to a null object to be used a control layer.
Animate the null so it leaves the shot however you’d like
Position your next elements for the second shot
Parent them to the null and animate them off
etc

This allows you to get pretty complex animations with very little effort

[Tyler Paul]

I’d combine shatter with particular as well for the fine dust particles. Use you text layer as the emitter. Key frame the particles per seconds to create short spurts of crumbline and falling apart.

Good luck with this. It could be a pretty cool effect.

* * *
“Life Should Come With Backround Music”

-Brown Sugar Studios-

Tyler Paul’s Toonificator V3.2 – Example Clip

[Tyler Paul]

The cutout step kills it. Photoshop couldn’t make it through anything longer than a 5 second clip. When it did make it through everything turned grey. I selected four frames at a time and re-imported and you got the same ugly noise problems you usually get.