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- 12/01/18--04:48: _Re: Animation workf...
- 12/01/18--04:48: _Re: Animation workf...
- 12/01/18--05:02: _Re: Creating and Se...
- 11/30/18--22:45: _Refresh Disabled Error
- 12/01/18--06:02: _After Effects 2019 ...
- 12/01/18--06:02: _Re: Error en After ...
- 12/01/18--06:13: _Re: Refresh Disable...
- 12/01/18--05:09: _Re: Forcing Key Fra...
- 12/01/18--06:29: _Re: After Effects 2...
- 12/01/18--06:49: _Re: Error en After ...
- 12/01/18--06:51: _Re: AE CC 2018 ridi...
- 12/01/18--07:21: _After Effects adds ...
- 12/01/18--07:23: _Re: Forcing Key Fra...
- 12/01/18--07:28: _Re: Forcing Key Fra...
- 12/01/18--07:47: _Re: Forcing Key Fra...
- 12/01/18--08:07: _Re: Animation workf...
- 12/01/18--08:11: _Re: Animation workf...
- 12/01/18--08:12: _Re: Animation workf...
- 12/01/18--08:23: _Re: Forcing Key Fra...
- 12/01/18--08:33: _Re: After Effects a...
- 12/01/18--04:48: Re: Animation workflow for adding animation to long video edit
- 12/01/18--04:48: Re: Animation workflow for adding animation to long video edit
- ProRes is close to visually lossless but is only an option if everyone works on Macs. File sizes range around a few GB per minute for 1080HD. You could probably get away with ProRes HQ (422) rather than ProRes 4444 if you don't need alpha.
- DNxHD / DNxHR are as good as ProRes in terms of quality, and work on Windows, but some legacy editing suites don't support them. You also need to agree on the settings, as there's a long list of flavors to choose from. File size is about the same as ProRes.
- Don't use Cineform. Blegh.
- EXR has the advantage that you only need to re-render specific frames, and it has a full floating point range so you can send back footage with HDR effects, like lens glares, which react correctly when someone adjusts the exposure or adds a filmic transition. They support layers, so you can render glow or shadows separately. EXR is the standard mezzanine for big studios these days but the footage can run to over 2GB per second. Not something to download on hotel WiFi.
- 12/01/18--05:02: Re: Creating and Selecting a line in After Effects CC?
- 11/30/18--22:45: Refresh Disabled Error
- 12/01/18--06:02: After Effects 2019 Crashes every time
- 12/01/18--06:02: Re: Error en After Effect me desactiva tarjeta de video
- 12/01/18--06:13: Re: Refresh Disabled Error
- 12/01/18--05:09: Re: Forcing Key Frames Everywhere?
- 12/01/18--06:29: Re: After Effects 2019 Crashes every time
- 12/01/18--06:49: Re: Error en After Effect me desactiva tarjeta de video
- 12/01/18--06:51: Re: AE CC 2018 ridiculously slow
- 12/01/18--07:21: After Effects adds weird Lags/Stutter into my Videoclips
- 12/01/18--07:23: Re: Forcing Key Frames Everywhere?
- 12/01/18--07:28: Re: Forcing Key Frames Everywhere?
- 12/01/18--07:47: Re: Forcing Key Frames Everywhere?
- 12/01/18--08:07: Re: Animation workflow for adding animation to long video edit
- 12/01/18--08:11: Re: Animation workflow for adding animation to long video edit
- 12/01/18--08:12: Re: Animation workflow for adding animation to long video edit
- 12/01/18--08:23: Re: Forcing Key Frames Everywhere?
- 12/01/18--08:33: Re: After Effects adds weird Lags/Stutter into my Videoclips
There is an Ae script that will detect cuts and it’s called “Magnum”. if you have an editor that can export an AAF/EDL file, that’s better.
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?
First off, don't even think about going near Dynamic Link. It's the spawn of a hideously inadvisable drunken night between two pieces of software that should never have even been in the same bar. Every professional studio uses the tried and trusted "old-school" file handoff workflow, where the editor exports in the best practicable format, then the FX department take the files, do their stuff and send back the same thing. The editor then just drops it into place, faffs about and hands off to color in the same way. Nobody has to care about broken plugins, missing fonts, or what software everyone is using.
However it's important to understand that most of the time the footage sent to/from FX is ungraded (and often linear). It's a lot easier to work with frames 'as seen by the camera' rather than trying to match some funky teal post-Instagramopalyptical grade that will of course be completely changed once the director sees it. In theory you could be sent the actual camera files, but that's very uncommon in big productions and not an option for raw footage since you cannot re-save it.
As Rick says, standard practice is to send every shot (or part thereof) to post as a standalone file - never the entire show. Every NLE application worth bothering about can export a single clip, or export the entire timeline as a series of clips, with handles. It might take a few more mouse clicks, but what they're expecting you to do with a full-span video is just stupid. Maybe if they gave you an EDL file you could automate the process of splitting it up into sections, but you will never have handles because they are parts of the source footage that have already been cut out of the timeline. Since you're saying that the edit isn't locked, you absolutely need handles.
As to file formats, it depends on a number of factors, which only you and your studio know. Of course you want to preserve quality, but without going overboard. If the source is handycam then you aren't bothered about cinema-quality 8K frames that will be zoomed up the wazoo, but naturally you'd avoid using a heavily compressed format like h.264, if nothing else because it's a pain to edit with. The three main contenders these days for FX post are ProRes, DNxH* and EXR frame sequences:
You could still use image sequences with a lower bandwidth format (e.g. PNG or TIFF) and get the advantage of frame-by-frame updates, but there can sometimes be problems with color shifts if the editing software doesn't understand how to profile the footage in and out of RGB. Quite a few 3D effects artists use 16-bit PNGs (approx 40MB per second for 1080HD).
So talk to the editor and see what formats they can actually read. Then ask what the colorist plans on doing to your returned files - for example if they will never crank the exposure, you don't need to worry about HDR data. Discuss each of the effects, because that can have a major bearing on what you need. If they crop in on a shot, then expect you to add camera shake, of course you need the uncropped footage or there's no way to fill in the edges.
View > View Option
Select : Layer Controls. Press OK..
I hope Your problem will be resolved.
About three days ago, whilst using After Effects CC 2018, I got the error message 'Refresh Disabled (release Caps Lock to refresh view)'. I often get this message when I do in fact have the Caps Lock button on, however, this time around Caps Lock was not on and I was simply trying to scale an image. I assumed it was just a glitch so I double pressed the Caps Lock button and it disappeared, when I scaled the image again, it happened again. It kept on doing this for anything I do. This has happened to me before, however I simply restarted after effects and it started working normally again. I tried restarting the software again and it still didn't work, I then shut down my laptop, left it for an hour or so, and then restarted after effects, however, still no luck. I read some other forums and most of them said to simply uninstall and reinstall after effects, so I did that, however, the issue still didn't fix itself. I then updated after effects, the issue didn't resolve. I have tried everything I can think of doing. I have also tried using all After Effects CC 2017, After Effects CC 2018, and After Effects CC 2019.
I am currently using After Effects CC 2019 Version 16.0.0.
Computer System Info:
MacBook Air (13-inch, Early 2015)
Processor: 1.6 GHz Intel Core i5
Memory: 8 GB 1600 MHz DDR3
Startup Disk: Macintosh HD
Graphics: Intel HD Graphics 6000 1536 MB
i don't know why, but every time i try to launch AE 2019 on my WIN 10 it crashes with this massege:
After Effects error: Crash in progress. Last logged message was: <8732> <Scripting <5> Executing startup/shutdown script at: C:\Program Files\Adobe\Adobe After Effects CC 20191 Support Files Scripts\Startup command Line Render.jsx
i tried to uninstall an re-install AE, and restarting my computer.. that all the weapons i got
anyone has an idea?
Isso só acontece com o AE, ou com outros aplicativos também? Como jogos por exemplo.
Thanks, but not sure your idea would work, as I can't tell if the object is lined up properly until I check in AE. I can't keep going back and forth between Mocha and AE, especially since I have to close Mocha in order to work in AE. Also, the object is complex, and I don't think a corner pin works in this instance, especially since parts of the object are covered off and on. And the object I am using to replace the other with is almost, but not quite, of the same dimensions.
I wish I could post a screenshot or work flow, but the video is not mine and I don't have permission to post.
i thought I explained things well, an object sitting on top of a bottom layer, back plate, and just using the mouse to position, size, and orientate the object.
What is your machine specs? All drivers are up to date? Have enough space In your drive?
Nomas con after effects version 15 y pense que era ese el problema y instalae la version 16 y tambien es lo mismo.
Don't get all excited. This question is NOT answered.
It's just a posting telling you to contact Adobe Support and if you follow that link, it loops you around back to this forum. It's actually pretty funny when you think about it. Sad and funny at the same time.
CC 2019 rendered by AE useless and likely it did the same to you.
There is NO fix as of Dec 1, 2018.
Everytime i import a clip into my Composition after effects creats weird little frezzes/stutter on some clips.
and if i play this part again the little lag is saved at this position. its hard to explain. even after export the composition as a avi the lag is still there.
I dont mean the lag/stutter for the Ram Preview, the Lags are on the Videoclip.
Here is a Wedding film i made, look at 1:51, the scene on the stairs. there is a little stutter and i dont know how it comes.
Please help i dont know how to fix this
even if i delete the scene and add the exact same scene as a new one after effects creats a lag/stutter on a other position of the composition..
the clips itself are all smooth, its something in after effects.
you should do all the work in Mocha, including adjusting the track if needed. if you need an object to place to see if things line up, you can insert an object right in Mocha to see that it is in place. if there is a drift, you can try tracking again with more careful planning, or use holdout mattes or what not, or you could use the adjust track module. when you are back in Ae, it's supposed to be perfect and leave you only with the compositing part of the process, not the match moving.
I would follow Rick's suggestion about learning more about Mocha on the Boris fx website. it will clear things up for you.
You certainly can accurately check a track in mocha. You just have to view the surface, or even better, insert an image or a grid.
If you need to do masking you can also do roto, and check it in Mocha. I've never seen any project that needed additional adjustment in AE for position or masks. You are just not utilizing all of the tools in Mocha properly.
If you do need to animate something in AE that has been tracked in Mocha you don't need a keyframe on every frame. If you really want to put a keyframe on every frame all you have to do is add an expression to the property by pressing the Alt/Option key and click on the stopwatch, then type value. Then use the keyframe assistant to convert expressions to keyframes.
If you need to move something that is already keyframed just add a null, make it the parent of the layer you need to move, move the null, then, if you are done with it, delete it.
The problem with Mocha is that I have 2 layers to compare relative position to, a back plate in which I track the original object, and the second layer consisting of the object to replace with. So how can I have 2 layers inside Mocha? I need both to compare relative positions.
The insert image feature in Mocha doesn't work so well in this case. The surface tool doesn't work so well, as the object tracked varies too much, as the object varies in length and is obscured off and on a lot. So had to do lots of roto since the tracking failed at some points.. If the 2 objects were identical, or less complex, and if the movements were simpler, I could use the surface tool, but it seems in this case it doesn't perform well. In other projects it worked very well.
Anyway, maybe the Mocha folks can let me know what to do. Thanks for the latter suggestion. Will try to give it a go.
Dave Merchant, what's wrong with CineForm? It's a free, visually lossless high bit depth format that supports alpha channels that did not go through the ProRez recent round of bugs and is way less problematic than the many of the other formats. I've never seen a media player that had problems with it and, IMHO it's a great alternative for prosumer or consumer level video production. I use it all the time on personal projects and tutorials.
About half my clients want image sequences, but that's a lot more work for a small production.
Yes that was my initial thought as well. For smaller self contained projects dynamic link works nicely as it doesn't take too much power and saves quite a bit of time re-rendering out a bunch of comps. But with these bigger projects with huge amount of assets it can get quite tricky very quickly I believe. Especially since not everyone working on it is familiar with the techniques and principles and might not be as tidy in organising their files.
The clips I'm working with have different color profiles. Some standard, some S-log 3. It's not a huge budget series so there isn't an actual colorist. Shouldn't I apply the animation on top of the final grade in order for the grading not to have effect on all the titles and graphics? I understand that for compositing you'd want the two to blend seamlessly but what I'm working on are more like overlaying motion graphics that should retain their original colors.
What would be the best way to actually achieve having handles to work with inside of After Effects? This can only be done if I have the entire clip database the editor is working with right?
We're all working on Macs so ProRes is going to be our best option I guess. Thanks for clarifying the different formats by the way, very helpful!
I will have a meeting with the editor this Monday so we'll talk these things through. Thanks for your help!
Cool thank you!
I did a project last week with 9 surfaces, all tracked in Mocha. Start here to learn how to use the tool: getting-started-with-mocha-01-fundamentals-of-planar-tracking
Are you doing any keyframing on that layers position? Do you use any stabilization (warp stabilizer) effect?