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    You don't even know what are u talking about. If you have nothing to say, just get out of the topic, because your messages are useless. You don't offer anything, you don't give examples, you just try to seem expert. But you know nothing, as I see.

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    Hi EtoEgor,


    Putting aside whether or not it's possible to get Audio Spectrum to recognize the Freq Range you want here's a possible solution.

    Bring the audio into a proper audio editing program, isolate the frequency range you wish and then shift the pitch to a lower frequency that Audio Spectrum CAN recognize.


    Use that to drive the effect while the original audio plays.  The driven property will match the timing of the audible frequency while actually being driven to the same waveform at a much lower frequency.

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    Here's the error, no matter what flavor of CSV export I choose from Excel:

    "Conversion to MGJSON using converter Comma Delimited Value with id com.adobe.sensor.csv failed"


    File is dirt simple, 8 rows and 8 columns of made-up integer data ("temperatures" in various cities), with header row and columns. Screenshot at bottom, file available at


    data_test1.csv - Google Drive




    Thanks for any help, I thought this was going to be simple, but AE is not cooperating!

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    I have a moving object following tracking data from Mocha. It works well but in some frames the object needs its position adjusted. However, such changes affect neighboring frames unless there are key frames. Most frames however don't currently have key frames though.


    How can I make changes in position of an object without affecting neighboring frames? Can I somehow force key frames on every frame? That should do it, I think.



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    You could also just try convert audio to keyframes (in Keyframe Assisstant menu) then copy the keyframes to the property you want

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    If you want different responses from different frequencies then you have to do some equalizing to the audio. The ear and the waveform do not respond to all frequencies in the same way.


    Take the chip off your shoulder. Dave is just pointing out that you don't have a very good understanding of how audio and the Audio Spectrum works or even how recordings are made or how people hear.  Since when do we owe you anything? Advice on this forum does not cost you anything and if you can't take criticism and learn from it you have no business producing videos.


    Audio Visualizations with the standard plug-ins are pretty boring anyway and show very little creativity. If you want to really do something amazing you'll need to split your audio into a bunch of different frequencies, pull data from those frequencies and turn it into something more amazing that an animated waveform.


    Let's talk about audio for a moment.  If the frequency range is set from 20 to 20K and there is nothing at either end of the spectrum then there is probably nothing in the original recording. You have to have awfully good gear to record all those frequencies and the audio cannot be compressed (mp3). A commonly used $4,000 studio microphone that I have used often falls off at 17K and by the time you get to 20K, it starts to go really flat. Consumer microphones in the under $900 range are considered great mics with a frequency range of 40 to 18K considerably at about Only the young and healthy can hear from 20 to 20,000, you need a killer audio system to play all of those frequencies back, and that audio system needs to be in a balanced and equalized room. If all you want to do is fill up the graph then cut down the frequency ranges. Nobody is going to be able to tell that you are not visualizing audio levels in frequencies that only the very best sound systems can playback and only young and healthy ears can hear.

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    If you are tracking in Mocha you should perfect the track in Mocha, not back in AE.


    Tracking and Corner Pin keyframes are generated for every frame that is tracked when you use Mocha.


    I have a strong feeling that you are experiencing user error caused by a lack of understanding and research on the process. More than half of the shots that I process in AE require some kind of tracking and I do not have any problems fixing up or adjusting a track. In order for us to give you any more detailed advice than check out the Mocha tutorials on the Boris FX website, we'll need a complete workflow description and a screenshot of your project with the modified properties of the layers that are giving you problems revealed. Just select the layer(s), press the U key twice, PrintScreen and paste to the forum.

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    Your format is not correct. There are quite a few examples in the User Guide. I would start my search for a solution there. I would also always check your CSV file in a text editor.  The only thing that jumps right out at me is that the top left cell is empty. I don't have time to check and see if that is the problem but I think it could be causing the problem.

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    It sounds to me like you do not have a good understanding of frame rates and how to deal with them. Nothing will playback at 600 fps. That is way beyond normal for an MP4 file. If you want to see every frame then the easiest thing to do is change the interpretation of the footage so that it matches the frame rate of the comp. If you are working at 30 fps then select the footage and use the File menu to open up interpretation. Set the frame rate to 30. Now you will see every frame, but 1 second of real time will take 20 seconds to playback so the action will be in slow motion.


    I'm assuming that when you said csgo montage you are talking about a video game. It's highly unlikely that the video capture was done at 600 fps.


    We need a lot more info to give you any meaningful help.

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    First rule: AE is for working on shots, not editing a film.

    Second rule: Don't waste your time working on frames that are going to end up on the cutting room floor.


    If the editor is sending you shots or sequences that need animation added to them then break each shot that needs animation into a separate comp. Do not accept unedited shots. If they have to share footage with you that has not been trimmed then insist on in and out points so you can trim the footage in the After Effects Footage Panel before you use it in a composition. Last point, if the edit is not final make sure you include big enough handles (extra frames) on the head and tail of each shot you work on. Most of the time my handles are 60 frames or less. If the edit is final, then I do not bother with handles.


    ProRez is a good format for a DI (digital intermediate), but there are also several other Mezzanine formats available. GoPro CineForm is a very good format that supports Alpha Channels and trillions of colors.

    Screenshot_2018-11-30 20.32.12_QhFrMa.png

    A Mezzanine format is a visually lossless codec and compression standard that is agreed on and used by everyone on the post-production team that is visually lossless and compatible with all of the software used by the team.

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    Actualizando    Microsoft DirectX® de esta pagina Download DirectX End-User Runtime Web Installer from Official Microsoft Download Center  a los mas actuales.
    A lo mejor asi se arregle

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    Yes! That was it. The empty cell at [0, 0] threw it the text editor the first entry was just blank, but it had a comma following, so that was the first thing AE encountered. I put "Hi" in [0, 0] and everything worked fine.


    Looks like the best format is to have a bunch of 1D arrays, one in each column, with a header row as a label and the data going down. This is easily readable in the AE data layers once you import.


    Also, if I Save As .csv from Excel, then make any more edits to it in Excel (while it's a .csv), then AE won't open it. I have to make the changes in the .xlsx and Save As the .csv again. Not sure why it doesn't work...that was throwing me off.



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    El problema que tengo es que estoy trabajando con after effects y me desactiva mi tarjeta de video, y cuando veo el diagnostico en directx veo que no esta activada aceleracion de direct3d. y tengo que reinicia el equipo y ya me activa de nuevo mi tarjeta, pero no me deja trabajar con mi tarjeta nvidia 1060, ya intente con los drivers mas viajos a los actuales, y no se soluciona el problema


    Informacion de GPU.JPGInformacion de GPUSnifer.JPGInformacion de DirectX habilitado.JPG


    despues del error me aparece esto


    Informacion de DirectX  Error.JPG


    Informacion de GPU Error.JPGInformacion de GPUSnifer error.JPG

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    I'm only trying to help... okay, an example: You need cut the "middle" of audio in audition. Use L and R, one for low frequencies, and another for high frequencies. Or make two files and merge them. After that you bring to AE, you will use this only for animation.

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    Thank you for the reply Rick Gerard!


    I've started animating now and the workflow I'm currently going by is indeed cutting up and pre comping all the shots that need animation from the single ProRes file. My question then is, when the edit get's updated and I receive a new ProRes file, how do I handle this new (time shifted) ProRes file?


    The episodes are largely shot on consumer handycams. Would rendering in lossless codecs still be necessary in this case?

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    To maintain the highest quality you should never use compressed formats for DI's. Some folks think they can get away with it, but the quality of the project always suffers. MP4 files can be especially problematic because at least half of the frames are created by calculating where the software things the pixels and colors should be.


    I'm not sure that I am following your workflow. If you are getting a single ProRez file of the edited show and you are cutting that up into individual shots then you are going to have to cut up the new show and adjust the timing of every shot that is different. There are several ways to do that but there is no automatic way to do that that I can think of. The difficulty of retiming everything depends entirely on the complexity of the animations you are creating. If you are just creating animated graphics as overlays then the best option would be to use the Extended Graphics capabilities in AE and Premiere Pro so the graphics are inserted, modified, and timed to the shots right inside Premiere Pro. Another option would be to pre-compose everything that is above the footage and then use time remapping to fit the animation to the action in the shot. You could be stuck with just selecting all of the keyframes in the animations and Alt/Option-Drag the last keyframe to adjust the timing.


    One thing you might be able to do that could save a lot of time is create your own set of animation presets. I have about 200 of them that I have created and another hundred or so that I have purchased that speed up my workflow. Basically, everything that you can do to a layer can be saved as an animation preset. More than half of my custom presets are based on in and out points of a layer and all the animation is created with expressions. If I need a layer to fly in from the left, bounce to a stop, then start to wiggle and fall off the bottom of the frame I have a preset that will allow me to position the layer in its hero position, set the in and out point, apply the preset and be ready to move on to the next layer. The whole process takes about 10 seconds.


    If the editor is just sending you new shots then you'll still face the same kind of problems but you may be able to use timecode to speed up the process.

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    On the Adobe site it mentions 2 ways of importing a CA scene into Ae. The first way is to simply drag the CA scene onto the Ae project window. This gives the error message: Failed to connect to Adobe Dynamic Link project (86::1).The second way is to choose File - import file. This results in the error message: The project could not be opened. A Youtube video from 2016 (I am using cc2019) recommends choosing Export - PNG sequence and WAV and saving it. All the PNGs are then listed plus the WAV file. However, when in Ae I choose Smart Import.jsx and drag it down to form a comp, only the visuals are on display and the WAV Is absent. If someone could please explain why this is happening I would be very grateful.


    Geoff Axon

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    I do know DaVinci Resolve has a function where it will analyse a single rendered file and automatically insert cuts when the shot changes. Then again I'm not working in Resolve and I only need the shots that will have animation on top of them.


    I haven't created any presets myself, but that does sound like something extremely useful. Extended Graphics is also something I will look into.


    Thanks again for the help! It is very much appreciated!

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