Workflow and issue composition

I have images of 22 cameras, GoPro, mp4, I imported natively into AE (11,02, OS 10.8.3 Mac 2.66 mhz Quad tour 16 g of RAM) in 1 composition.  I intend to achieve the desired effect and exit then a codec production, prores 422 for inclusion in my first project timeline.  Is this a valid workflow?

Following the issue of membership:

Most of the 22 cameras (in a table) recorded two or more files of the 16 mintes of execution, (there are 6 a separated in that time).  Before, I wrote these film files (after aligning a slate and for each layer continuous playback) to neaten up upwards and make more compact my calendar of EI.

The effect I'm trying to achieve is a time-Slice/Bullet Time where I can "cut" one camera to the other throughout the Bay, thus freezing the action, but having the 'camera' move topic - and then the last layer/camera continue to play.  Specific I want to freeze, I set the opacity of each layer 0 successively to preview it help "freeze point" However in my ram only the first layer plays images.  Without the transformation of opacity to each layer, I can make a rough version of what I'm trying to do this solo ' ing each individual layer and I can't understand why making it each opacity of layer 0 successively does not work.

Also once I have finished all the transformations of the opacity, the lower layer must be visible 1 framework after the layer above it goes to the opacity of the O, but actually, it's BLACK!  What the devil?

Should I drag each image layer 1 forward in reading an image so only 1 of each layer?  Once again "turn on and turn off" each layer with an opacity?  I found the answer to this question, at least for now.  Each successive clip gets cut to the desired picture, then slipped a picture in front of the upper layer (save the top layer, which is reduced to the image).  In this way the same frame plays again and again with each camera along the Bay.

I made a mistake using the comps pre mixed with the film 1 - taking?  In other words, my main computer now includes preliminary comps of the 2 files produced by most devices, as well as the original footage from these cameras mp4 that has recorded only a single file for the action.

And further; Once I have the visible images in the correct sequence would be I before dial again and apply a sfx as displacement of the pixels to interpolate between the difference/door frames due to the difference of the position of each camera?  Please suggest another stream of work or layout composition!

I hope I was clear, I am here and ready to clarify if I omitted no details.

I would be forever grateful for the answers to questions pending if someone has an entry for me.  The question now is: remapping time or timewarp (which one?) front Displacement of the pixels - and displacement of the pixels is better for image interpolation smooth all this?

Thank you very much
Jesse

Let me comment on one thing here:

Also once I have finished all the transformations of the opacity, the lower layer must be visible 1 framework after the layer above it goes to the opacity of the O, but actually, it's BLACK!  What the devil?

Here's the deal. The CTI is at the beginning of a frame. This means that if you look at the value for this image, you will see the actual values for this image. If you set 0 then it is the value of the image, you are on, not the next image. If you have a top to the frame 105 layer opacity 0 value and the layer directly beneath it also set to 0 then the two frames are 0. It's logical.

I think that you go about it the wrong way. You do a lot of work for yourself that you don't need to do. If you have all your synchronized layers and in the left right order to the right and you want to make a gel frame 200 then set the CTI to frame 200, divide all layers, then move all the new layers to the top of the comp and select them. This can be done with three keystrokes. [Ctrl/Cmnd + A to select all the layers, Ctrl / Cmnd + D to split all selected layers, Ctrl/Cmnd +] to move all layers to the top.

Now, use Ctrl/Cmnd + right arrow to move an image to the right and repeat the procedure. An easy way to mark these executives cut for easy selection would be to define a color label group. Select all the layers above the initial allocation (your layers of the image and the upper layers) and choose Animation > keyframe Assistant > sequence layers. Now the first layer above the layers of single frame, snap the CTI to that layer by pressing on the I have key, put a chronological marker, select all the layers above the layers of the unique image and press Shift + Alt/Option + the home line up on the first image and then catch them and hold down the SHIFT key to align ICT while dragging.

That's all. It takes about 10 seconds. Now you can compost before this lot all over and put in place any interpolation or the time-remapping that you want in the precomp.

Tags: After Effects

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