In and out of After Effects workflow

Similar Questions

• I upgraded to Yosemite 10.10.3 and my CS6 After Effects is not available. How can I get that back?

  I upgraded to Yosemite 10.10.3 and my CS6 After Effects is not available. How to operate?

  Reinstall completely, including running the 11.0.4 update.

  Download Creative Suite 6 applications

  Mylenium

• animated transitions (After effects workflow cp8)

  So I have a PNG of a photoshop project, I created, I use that as my title of Cp8 slide put a button under the word 'Start' which takes me to slide 2.

  Slide 2 is actually a .f4v video created in After Effects, without the skin, with all the elements (text, graphics) of the .png animation off-screen. Slide 1 slide 2 are exactly the same, so when the transitions (fixed image) s1 to s2 (video) it should be transparent.

  However, the screen turns white for about a second when you click on the button 'Start '. How to stop this 'leap' and get a nice transition seamless?

  Action button (under the word 'Start') is continuous. Why the discrepancy between the two slide 1 and slide 2. I spent all day on it, reinstalled Cp8, was on the phone to Adobe... aaaaaaaaaarrrrggggh if anyone can help me solve what they can marry my sister!

  Insert the video as the video synchronized several slide

  Select the option of extending the duration of the slide to accommodate the video

  Change the following line in your AdobeCaptivate.ini found here: C:\Program Files\Adobe\Adobe Captivate 8 x 64

  UseWidget7 = 1

  Put the button on top of the video and set the pause button at the beginning of the video.

  Set the action to continue.

• What is a NVIDIA graphics card and why my After Effects requires one?

  This is my first time to use After Effects and I don't know anything about. I opened it and something pops up saying 'Ray-tracing on GPUS requires a NVIDIA and CUDA 5.0 or later approved graphics card'. What it means? I'm worried create anything on after effects incase it cannot record because of this problem.

  Your graphics card can't do ray traced 3D, so (ray traced 3D) it will be not very usable with large 3D scenes. Not a problem really unless what you AE for. You can still use the program. It's just a warning your graphics card does not minimum requirements for "ray 3D" features drawn, although it will still work, the CPU can do it too, but the classic rendering engine is generally fine for 3D in AE

• Computer has crashed and Messed Up After Effects

  So what happened was, my computer crashed and remove my Adobe software. I reinstalled the Application Manager and he says that After Effects has been installed and updated, however, it is not the case that are on my computer. I can't install or uninstall it, so I'm a derivation. Help, please.

  Run the Creative Suite cleanup tool, reinstall.

  Mylenium

• using first pro and replace with after effects composition

  Hi I am using pro CS4 first.

  I created a sequence of camera multi 2 cameras, on a separate strain. When I'm going to replace the images of timeline with an effect after composition, after effects starts, but what I get is the film in after effects is the exact duration camera.

  What can I do to prevent the exact footage of each of the cameras on the time line

  Thank you

  Rodney

  I don't think it's at all possible. It may be a limitation on multicam works. Because it does not really separating clips, there is no way for AE determine who is actually used currently. I guess, you would insert the relevant extract as a separate sequence to get this working...

  Mylenium

• Intel core i7 and Xeon for After Effects?

  Looking to buy a new portable high-end Windows 10 or 7, 16 GB of ram and a processor Intel Core i7-6820HQ or Intel Xeon E3 - 1505M. What is the best for AE? Æ use even all the nuclei of the Xeon? There are "traps" using Xeon? I never use Core i7 for years with no problems, used a Xeon.

  JC

  According my AE experience does not get the same performance naively with Xeon as i7s.  I'm working on two workstations and rendering updates improved in 2015.3 interactivity the i7 and rendering final times are much faster in sequences by 1:1 ratio when it comes ProRes 4 k DPX and Tiff.  But you can't compare always 1:1

  The real power of Xeon comes into play when you have very effective proxy workflows where you can be rendered in the background and continue to work in the foreground.  Or when you use scripts as BGrenderer of scripts of EI to force AE to use several instances of AE in the background, as well as allowing you to work in the foreground.

  So, in my opinion it really depends.  For quick comps, simple text animations, etc the i7 would be 'faster '.  But with very complicated, in the composition of depth, and do not have access to a... render farm the Xeon can become a free figure if integrated render farm treat you him like that.  I use my i7 when I have access to the farm to record at the studio.  Use the Xeon when the farm is unavailable but I can context process lots of data while he was working in the foreground.

  If I have the choice, I prefer the i7, it "feels" faster.

• IMPROVE the BRUTE &. DNG WORKFLOW IN PREMIERE and AFTER EFFECTS

  I am editor-in-Chief, and I work with raw. DNG files more over the past two years.

  Image with the RAW settings controls are amazing off course.

  But not the controls that Adobe provides to editing the .dng files. I find this workflow to be stoneaged, extremely devious and far from effective.

  THESE ARE THE METHODS of EDITING I USE (September 2016, adobe cc 2015.3):

  (1) for editing the .dng files I must interpret my shots with the RAW importer in After Effects. Then export every time with these settings in the format Prores out of After Effects. That will become the images then in first. The render time is huge, place to three days of rendering time for some projects of greater that I worked.

  (2) a very intensively and your working time is as follows:

  • Import each shot like .dng in first (one-by-one, at the same time is not possible (adobe feature request).)

  • In order to be able to change with it, you can edit the RAW temperature, tint, and exposure settings (adobe feature request: integrate all the raw settings as you did with Lumetri).

  • Then there are several ways to do it, I do it like this: I put all the photos in a calendar on the same layer.

  • I have duplicate all the shots to the upper layer.

  • I select all the photos duplicated and then right click: ' replace with after composition effects.

  • You go to sequels and then ask the parameters for each individual shot raw. You set the parameters of all your shots. You will only be able to see the first image of the sequence, so if you are working with a Committee of action, you will only be able to see the first image. (adobe feature request: make it scrollable of sequences of images, so within the RAW screen importer I wish I could scroll through other images of this sequence)

  > > You can open another frame of the sequence of images just from the finder and then open with photoshop, the RAW importer screen will invite, adjust the settings and then export these settings. Then - later - you can load these settings in After Effects by right-clicking the sequence in the project window and choose "replace footage > > file" and then it will prompt you again with the RAW importer window). Pfff, so sneaky and ineffective all together. (adobe feature request)

  • When the settings for all plans are finished, you will find all the plans in a composition. BUT these layers will appear UNFORTUNATELY have been interpreted as images (image .dng) instead of sequences of images (photos/film .dng). (adobe feature request)

  • Up to now, you go the project window and you select the first shot, do a right-click: "replace sequences > > leader." Select the first file .dng and enter. The RAW importer appears again, thank God he reminded of the settings that you have applied to this .dng, os, you don't have to do it all over again.

  • You repeat this operation for all your shots.

  • Then in your timeline first you should have two layers with the same shots, the linked AE comp will be with the interpretations of right and the bottom layer with the original .dng files. You can enable or disable the layer on and outside, by providing a much faster workflow for editing. Type to have created a proxy system.

  -But then a European problem can occur: If all the shots in the AE comp seem to be shorter then in your timeline in first you do this:

  • In After Effects, go first .dng sequence in your project window. Right click, choose "film > > main.

  • You can select the frame rate, set it to 25 if you are working with 25 images per image (to check in settings to create sequence) captures. (adobe feature request: use the same rate for this interpretation as first has done, or ask, and remember this choice)

  • THEN, SEVERAL HOURS LATER, depends on how much you have pictures, you can begin to find a way to edit first. You can nest the sequence in which the original dng sequences and the composition of linked EI are superimposed. If you do not have to edit with two videos and several audio blocks above the other.

  For editing with the org .dng files, you can adjust the base temperature BRUTE, hue settings and exposure in first, so you can see what you're doing. For most RAW images are very dark without the RAW settings, so who can help when your first change in flow when the AE comp is off.

  • When you want to change the raw settings, you can go to sequels, open the project and then choose: "replace footage > > leader." Then importing RAW window again and you can make the change. It is now automatically charged also in first due comp system that you built.

  For a film RED and ALEXA it's organized all much better...

  So now I ask Adobe:

  WHY is WHY WHY like that?

  Two years ago, it remains unchanged.

  I am a very big ADOBE fan and faithful, programs and innovations are impressive. Lumetri is impressive. I hoped he would also modify the RAW data, but unfortunately it doesn't.

  This lack of a good system of RAW editing really pushes me away Adobe right now. This isn't a professional workflow.

  If several editors have the same types of problems, please reply to this post with your opinion.

  Perhaps, it helps a little pushing Adobe to change this.

  And if someone has a big piece of something I'm missing, please please enlighten me. I won't be arrogant kind.

  I can't find the right answer to this workflow of the stone age, and I guess that most people will know it.

  WHY is WHY WHY like that?

  I'm not convinced that it is.

  The only part of your post, I found valid is where clips must be imported one at a time.  It's true, and Adobe certainly should to address the issue.  But both, Blackmagic and other responsible camera must also decide, releasing updates of firmware that create the MXF files to hold the CinemaDNG RAW images, audio, time code metadata and in a single file.    No records, no covering.  A clip, a single file.

  This is technically possible and it is the best option in all areas.  For each Adobe feature request, so we need to request a Blackmagic as well. Two actually, because changing the way in which the cameras record is good the best option.

  Other than this one problem, I don't see where everything you do is necessary.  Lumetri now accesses the RAW data in images CinemaDNG, is not only an effect on top as fast color corrector.

  Using the new feature of Proxy editing is done MUCH easier.

  I see no need for the AE in the pipeline.

• I can work on after effects being coded by best practices and Media Encoder file

  I just found out that after effects files can be returned outside the program using the media encoder.  I had been made in after effects of .mov, then open the file in photoshop to render the .mov to a mp4.  Not the process faster, but it worked.  If I use media encoder to make my legacy model would still be able to work in AfterEffects and edit and save the file rendered in media encoding, or it is locked?  I hear also the media encoder is slower than the after effects encoder.  What are the best practices for a comp sequelae which makes a mp4 (h264)?  Thank you...

  Depending on what you do the SOUL can be slower than using index rendering, but that's the only thing that you must use to make H.264 files.

  When you send a model to the SOUL a virtual copy of this composition that is the source for this rendering. You can continue to work on the same computer and additional changes but if you want these changes appears you will need to send this model to the SOUL again after making the changes.

  Almost without exception, I'm working on plans not and certainly never movies sequences in After Effects. My average computer is probably seven seconds, my average film is probably 30 minutes so I use AE to work on plans for effects which cannot be treated in my NLE. I almost always send a model to the SOUL to render a h.264 or a suitable production master, or both, and then I continue working in AE because I can't afford to wait for a rendering time. On almost all of it is the more efficient workflow.

• Best After Effects - Premiere Pro workflow

  Hello world

  I want to create more videos like this:

  Essen Motor Show 2014 Highlights - YouTube

  The difficult thing is to synchronize the video with the music.

  The best way to do it is when I use Premiere Pro. I'll put markers and drag-and - drop the footages to the markers and I'm done.

  BUT: I want to insert cool transition effects and other things for the final film. This is the point when Premiere Pro is not the right choice.

  What I did until today:
  I created a model for each single report and correct colors. Then, I created a "Film Final" composition and drag all the unique compositions in this model "the definitive film.

  I inserted the sound file und adjust the compositions of the music video. I've always had to hold down the Ctrl key to hear what is on the way of the music.

  This is a really complicated in After Effects workflow.

  I would like to have the Premiere Pro compfortability with respect to the correction of color and adjustment-music-video and the benefits of After Effects to make cool transitions and other effects.

  
  Is there anyone out there who knows a best workflow?

  Greetings,
  Daniel

  Why not assemble in first and Hotlinks to AE when you need effects?

  Using After Effects | Dynamics and After Effects links

• GeForce GTX 780M and After Effects

  I just got a new iMac with the GeForce GTX 780 M 4 GB of VRAM, and I was hoping I could use the 3D effects of Ray-tracing. I don't know if I'm doing something wrong, but the option to upgrade to the GPU is grayed out. I have not installed anything except After Effects since I have the machine, so maybe I need to install CUDA? Where would I get the drivers for it so that I could try.

  Thank you

  David Faircloth

  This card is not on the list of the cards tested and supported for After Effects for the GPU of the 3D rendering engine acceleration traced to the RADIUS.

  If you use after effects CC (12.1), you can ignore this fact and choose the option «Enable GPU untested, unsupported...» "to try to use the card anyway. Details:

  http://blogs.Adobe.com/AfterEffects/2013/09/GPU-changes-for-CUDA-and-OpenGL-in-after-effec ts-cc-12 - 1.html

• I click to download After Effects, Creative cloud appears and says it is up to date, but I can't find anywhere on my macbook?

  I searched my entire Mac and can not find anywhere from After Effects. So I'm going to download it. When I click on download, my creative cloud opens and next to After Effects, it says to update.

  So, I fixed my own problem. Anyone else having the same problem follow these steps, they helped me.

  CC desktop applications 'updated' lists when it is not installed

• I installed the full version of After Effects, but as MPEG2 and DVD MPEG2 codecs are always miss

  The title explains little. I installed Master Collection CS5.5 as a full version, but After Effects and Adobe Media Encoder are still missing to the protected content. I rebooted and updated and restarted again. I installed as a trial and then entered the serial number later, and I also tried to use the serial number during installation. It seems that no matter what combination I try, I can't get MPEG2 if poster in the list to export.

  I just spoke with one of the software engineers, and he said that this could be the problem:

  If an exporter plugin ever to load, then After Effects try to load it again. It is possible that MPEG-2 exporters could not load a moment and then marked in this way.

  I recommend quiting After Effects, remove this entire directory and then restart After Effects:

  /Users/ /Library/Preferences/Adobe/After effects/10.5

  (No, this directory is not deleted during the uninstallation, unless explicitly say you to remove preferences, so it may have been left in your previous attempts to uninstall and reinstall.)

• Dance of the Rotoscoping in After Effects with motion tracking?

  Hello!

  How can I copy the movements of real popular dance to a video into a cartoon character using rotoscoping/masking/motion tracking in AE?

  Example:

  Neytiri dance rotoscoping/animation at the beginning still very rough - YouTube

  Tracking and Rotoscoping in After Effects: dance-2014 Jayant Sharma - YouTube

  Thanks in advance!

  in the Express.ypH you have provided there is 2 things and none of them is the cartoon character who is drawn on a video:

  • * the first is a 3D CGI that mimics the movements of dances from the dancing and I think that this has been done from observation. certainly NOT the Rotoscoping.
  • * the second example is a dancing man - a video cutting cutting - perhaps he was dancing in front of a greenscreen, we do not know but is not a caricature but a cutting of a video which has been applied some effects to make it more graphic but still, it's a video and I think that one who was cut by using matte procedure (picture effect) after the dancer was shot in front of a green screen. the face attached to the dancer is a follow-up on the face and securing its position and rotation of the information from tracking data so it will match. This is called the track or the movement of the game and it is a skill that requires time and patience to learn. but it is sometimes easier than rotoscoping. the two can be combined together to make life easier for the ROTO. but it's advanced things.

  On rotoscoping as an Art to cut out an Image of a video (not picture on it):

  There are several ways to make rotoscoping (cutting of the motion picture), and they all need a lot of practice and patience. There is no way to do it easily and it is a skill that takes time to penetrate. different types of techniques are described here: https://www.fxguide.com/featured/the-art-of-roto-2011/

  draw on top of a video (without cutting) is animated rotoscoping and can be done in Photoshop. some do it with "Chronology of Animation Frame" and others with "timeline of the video.

  The main workflow is the following:

  1. you import your video in photoshop

  2. create a timeline of this video

  3. do frame-by-frame on top of the video

  4. export the sequence as a new video

  more on the process of these Roto technical animation can be found in this post.

  Re: rotoscoping techniques: Animation video vs Timeline -there are links and information in the post of different examples. the post is a work in the making. I tried to treat it as an article, but new to the Forum (in terms of contributing content) carried out, once a user posts a comment on my comment - I can't access (which makes sense)

• Lack codec h264 in after effect CC (2015)

  Hello.

  Miss me the h264 codec in after effect CC (2015). the problem persists for about a year. I have this codec in first pro, but not after the effect. What can I do?

  After effects encodes is more directly in H.264 (he didn't do a great job of it in the past). You can return an intermediate codec to EI or send your AE comp directly to Adobe Media Encoder.

  I almost always rendering directly to EI. This is because AE CC 2014 multiprocessing. So, I'll work in 2015 CC to enjoy snappier interface and open the project file in CC 2014 to make with multiprocessing (as my system can use this feature very well in most of the projects).

  Here's the Adobe blog about uninstalling: using Adobe Media Encoder to create H.264, MPEG-2 and WMV videos get out of After Effects

  If you talk to a lot of Veterans around here, they will say that the AE h.264 encoder was buggy and did not do a good job. They call deletion "good riddance." The AE team is small enough, so put their resources to improve the work of EI to VFX compositing and motion graphics, and leave the team work Adobe Media Encoder encoding of things seems logical.