[Walter Soyka]

Can you post some screenshots that show what you’re experiencing? Please show the entire After Effects UI, revealing any properties in the timeline that you’ve changed.

Walter Soyka
Designer & Mad Scientist at Keen Live [link]
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
@keenlive   |   RenderBreak [blog]   |   Profile [LinkedIn]

[Walter Soyka]

[Andy Engelkemier] “I’m curious on the color space though. That’s gamma 2.4? Why would I work in gamma 2.4? “

Premiere and AME don’t have the same color mangement system that After Effects does; they think in Rec. 709, so that’s why I had made that suggestion. When you dynamic link from Ae to Pr/AME, it (should) transform from your working space to Rec. 709, and I was wondering if that was where the problem you were having was coming in.

[Andy Engelkemier] ” It seems odd because, I would think I would want to work in the same gamma profile as my monitor?”

With color management, Ae will transform color from the working space to your display space (via Use Display Color Management), based on the ICC profile your monitor is using at the OS level. You can work in whatever space is required by your project (usually defined by the largest deliverable space), rather than working in the space of your monitor.

[Andy Engelkemier] “I’m working in the AdobeRGB profile on my monitor, and if I switch to sRGB it looks Terrible. “

If you’re going to switch the monitor’s mode, you should also switch its profile at the OS level.

Walter Soyka
Designer & Mad Scientist at Keen Live [link]
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
@keenlive   |   RenderBreak [blog]   |   Profile [LinkedIn]

[Walter Soyka]

I think this is an Element 3D bug — and we’ve seen it, too. Try creating a new comp and copy/pasting everything in there. (You’ll need to reset any custom layers in Element.)

Walter Soyka
Designer & Mad Scientist at Keen Live [link]
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
@keenlive   |   RenderBreak [blog]   |   Profile [LinkedIn]

[Walter Soyka]

Ae will not render depth of field with the CINEMA 4D renderer. Change it to the Classic 3D renderer in the comp’s settings for DoF (but of course you’ll lose extrusion, reflections, curved footage layers, and environment layers).

Walter Soyka
Designer & Mad Scientist at Keen Live [link]
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
@keenlive   |   RenderBreak [blog]   |   Profile [LinkedIn]

[Walter Soyka]

QuickTime’s H.264 encoder is limited to 2000 pixels. You should avoid it at all costs (use the MP4 H.264 encoder in AME instead) — but you should especially avoid any flavor of H.264 for a pre-render, because you will incur generational loss [link].

[Karin Knutsson] “I am doing this as part of an own project (art exhibition) – the animation will be projected on a curtain about 4×2 meters in size”

The resolution that you deliver will be governed by the projection and playback system, so it’s often helpful to start your production workflow with the end in mind. Do you know how you’ll execute playback yet?

Walter Soyka
Designer & Mad Scientist at Keen Live [link]
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
@keenlive   |   RenderBreak [blog]   |   Profile [LinkedIn]

[Walter Soyka]

Got it. Looks like AME is not handling the overbrights from Dynamic Link correctly.

Two things to try:

1) Work in Rec. 709 instead of Adobe RGB. (Note that changing the working color space means you may need to tweak some of your effects to get the same results.)

2) Apply a Levels effect on an adjustment layer at the top of your comp. Don’t touch the histogram, the inputs, gamma or outputs — just set “Clip To Output White” to “On.”

Walter Soyka
Designer & Mad Scientist at Keen Live [link]
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
@keenlive   |   RenderBreak [blog]   |   Profile [LinkedIn]

[Walter Soyka]

I’ll try to help, Andy. Can you post some screenshots? I’m interested in your project color settings, what it looks like while you’re working, your output settings, and what it looks like after you’ve rendered.

Walter Soyka
Designer & Mad Scientist at Keen Live [link]
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
@keenlive   |   RenderBreak [blog]   |   Profile [LinkedIn]

[Walter Soyka]

Right, thanks.

I’d suggest you try using Extract or luma mattes to create the transparency — or maybe describe more about how you’re making the letters in the first place, as we might have some other suggestions.

Walter Soyka
Designer & Mad Scientist at Keen Live [link]
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
@keenlive   |   RenderBreak [blog]   |   Profile [LinkedIn]

[Walter Soyka]

Have you tried using Shape Repeaters?

https://helpx.adobe.com/after-effects/using//shape-attributes-paint-operations-path.html#using_the_repeater_to_replicate_shapes

Walter Soyka
Designer & Mad Scientist at Keen Live [link]
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
@keenlive   |   RenderBreak [blog]   |   Profile [LinkedIn]

[Walter Soyka]

What do you mean by “copy?” Are you looking to re-create the animated cyclist from scratch?

The first thing would be to build the individual pieces: the cyclist and a wheel.

You should build the wheel in more of a circle so you can animate it by rotation, then scale it disproportionately in only the Y dimension to flatten it down a little. (Otherwise it will rotate from wide to tall and back.)

Once you’ve got the cyclist drawn, you can animate his or her motion with the Puppet tool.

Walter Soyka
Designer & Mad Scientist at Keen Live [link]
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
@keenlive   |   RenderBreak [blog]   |   Profile [LinkedIn]