After Effects :: Getting Pixelation When Add Camera Layer To Imported MOV?
Jan 20, 2014
I've created a composition with animation in After Effects. Because of the complexity of the composition and its many layers, adding a 3D camera layer to it spawned a whole lot of issues with the wipe effects I had on the pre-existing layers and movement of my layers. So I rendered the composition without the camera layer, nested the .mov into a new comp and added a camera layer. The animation works great but I'm getting a lot of pixelation. Highest HD settings, full resolution, preserving quality of layers when nesting and not sure what's happening.
I have a Shape Layer in Photoshop. When the .PSD is imported as a comp, AE CS6 is layering the masks incorrectly. It requires the user to manually re-order the masks to display correctly.
is there any way to interpret PS shape layers as pixels or Illustrator vectors instead of masks? [without rasterizing in PS, of course] When AE turns them into masks, AE obviously won't update the masks if I make changes to the shape in Photoshop.)
I am trying to use the camera to zooom into one layer. the front layer should not be affected by that - so how can I make the camera only affect ONE layer not all?
I don't know how to phrase it correctly but the 3d camera tracker inside of After Effects will only apply key frames to the null object. This causes the footage to rotate around itself.
I am working on a project where I am incorporating 3d text into a shot with an onscreen talent speaking to the camera. I am trying to get the text to only move when the camera moves such as a pan or a hand held shake, making it look like it's part of the environment. It will track with the camera and looks great until my talent /subject moves, then the text moves with the subject. What am I doing wrong in my tracking? I have looked up tutorials and articles searching for others who have had this problem and cannot find anything that replicates my issue. Every tutorial I've seen does the same thing with fantastic results but I can never get the text to not move with my subject.
I have made a short film of 6 minutes (in 6 parts on after effects) I have added all the effects and the camera work on AE, but it needs a lot of editing here and there, which I find impossible to do on AE since you can't cut and join scenes like Premier pro. I need to import all these sequences onto premier pro for editing now. The problem is once I import the files, it imports in the right order in systematic folders etc, but it doesn't show any of the camera work or the special effects like gaussian blur etc. All my hard work has gone.
There must be a way you can import the after effects file on premier the way it looks on AE.
Another problem is I read some boards and it has been suggested to edit the clips first on premier and then add effects on AE but I read this really late and I've already composited the whole film on AE. I just need premier for cutting now.
P.S: I also thought about exporting the AE sequences as TGA files but there's ZERO space left in my internal hard disk for that, and it would take forever to export them all anyway. Any other kind of export would reduce the original quality which I dont want, and which I dont have space for anyway, so that option is out as well.
I imported my photos from my camera to adobe bridge and they looked great. I had no problems saving them in the file folder that I had chosen and when I open them in Photoshop CS4, they look awful. They are all pixelated and broken up and I really don't think my Nikon D90 had anything to do with this and I am very frustrated. Is there a setting that I am missing that could be the problem? What steps can I take to make sure I haven't missed anything because I find it difficult to enhance photos that look so bad when opened in PS.
I just created a new project in After Effects 6 and imported an MPG clip with audio, but despite toggling on the audio switches etc the clip has no sound. The visual stuff is fine but I can't figure out why the audio won't work. By the way I have checked the audio on other devices and with other playback programs and it works fine.
so I frequently bring older versions of projects into my current AE project, particularly when revising spots, what I want to understand clearly is the behavior of AE projects once they are imported into a larger project.
If I make edits to the compositions of the nested project, are those changes saved back to the nested project's orginal file? If I alter the original nested projects file, how much will it change instances of it nested in other projects?
I have a shape that was made in Illustrator. See right. It's the thought-ballon-y-looking thing.
The everything outside of the black part is transparent. I want to use this shape as a mask so that another comp will appear inside the balloon shape, but not outside the shape.
I imported a song into After Effects CS6 to use audio waveforms. I click RAM preview but it won't render or play past 18 seconds. What am I doing wrong and how do I render the entire audio track so it will actually play all the way through with the effects on it.
The problem: I am importing a PNG sequence into After Effects (CS 5.5), however AE refuses to see the Alpha channel contained within the sequence. Now before anyone jumps the gun and says, "But wait, PNG does not really support alpha, it just supports transparency!" Right, something I just learned, and still -- quite honestly -- baffles the heck out of me.
But anyway, another PNG sequence exported from the exact same program, imports into After Effects just fine with an "alpha channel" and all. I double-checked, and there is NOT an option in the program to export the PNG without transparency info.
Importing sample images from each sequence reveals the EXACT SAME THING ... both have transparency, but NEITHER have an alpha-channel per se.
1) why in the heck AE would interpret one's transparency, and not the other?2) Is there a way to FORCE AE to see the transparency of the one?3) IF not, is there something out there that will convert the PNG's with transparency to another format (TIF, TGA, PSD) with an alpha? I just don't want to have to re-render the sequences again.
I am working with something new in AE this week and I am curious if I am doing something wrong. I need to insert a 3D thumb tack PSD file I imported into AE with a film I am working on. As a test I just wanted to see what quailty the pin would render out for the final because the preview in AE looked horrible. So I have a static shot of the Thumb tack and it is going for 10 seconds. I started the Render and it has been going for 9 minutes so far and still shows 1hr 28 minutes left. I've rendered 8 minutes music videos in 45 minutes on this same PC.
I am using a PSD for 3D because I do not have 3D software.
I have recently switched from a PC to Mac and reloaded my CorelDraw 11 software onto my Mac. I have been importing tiffs into my document but am unable to use any of effects tools. What I can do to get this software working on my laptop. I am running OSX Leopard.
I have found that when I use the Layer Styles on one layer and then make a new layer or select a shape that creates a new layer that when I go to add Styles to the new layer/new shape the previous layer is affected by how I set the Bevel & Emboss, Direction, Altitude, Drop Shadow etc etc.
For instance, let's say I have a ...
BG > New Layer > draw an ellipse and then add a Bevel with an > Angle of 89 and an Altitude of 30 and then I add a New Layer > open the Styles and go to change the Angle to say +89 or whatever and the Altitude to say 45 ... the first Layer/Shape Effects change.
How I can keep one Layer from being affected by an other Layers Effects'?
I have found that if I Rasterize a Layer Effect that I can add a "double" effect on the same layer but I haven't tried the to do this with separate layers. However, for most of the work I am doing I cannot use the Raster because everything needs to be true vectors.
I have a Dell Laptop/Windows 7 Home Premium that's a 64 bit
I'm trying to export a camera from maya to after effects. My null objects are coming in correctly but my camera is not. I've baked key frames but am still not having any luck. Look at my maya file and see if I'm not following the correct steps? up_wipe_camera_v01.3.zip
When I take a clip from Premeire Pro with no effects on it, replace with after effects composition --> then try to apply the 3D camera tracker in After Effects (CS6) I get the error message "3D Camera Tracker analysis doesn't work with Collapse Transformations (514) ( 25 :: 101 ).
Even if there are NO changes to the settings between individual (non-sequential) images, each import of a camera raw file must be approved by clicking okay for each file. In projects which involve hundreds (thousands?) of unique stills this is needlessly tedious.
Instead, the option of one CR dialogue would suffice that could (again, optionally) be applied to all.Adopting Photoshop’s Camera raw dialogue’s ability to process BATCH images in the window and opening them all in PS seems like a natural solution to AE import hangup.
This should also allow for the option to re-open the dialogue after import on one or more stills to modify the contents and then close.
In addition the fact that AE insists that a still need be at least one full second seems like an unnecessary restriction. Why is it not possible to import an image as just one frame?
The modification I suggest would saves tremendous time and allows for incredible flexibility.
We had an animation project where we have to manipulate1200 stills in After Effects to create an animation. Since the stills were not shot sequentially and the editing/compositing needed to happen within AE, importing as a sequence was not an option. The impediments in basic import functions added a full day's work just to import the files(!). We ended up selecting the images in LR, applying minor correction, exporting the selects as DNG files, importing them into AE (clicking the OKAY button in the CR dialogue for each of 1200 images) then selecting all the images and creating proxies so they were easier and faster to work with. (note: we ended up buying a proxy creator script because AE won’t generate proxies for multiple items in one action)
This is not an isolated case for one project. We require this function all the time. But the tedious importing of 1200 images in one project really broke our moral.
I've been trying to add a camera to my project but when I do, instead of just popping up in the layer section it also pops up lines in the actual project, which is not supposed to happen.Also, when I try to zoom in or do anything with it, the camera lines on the screen reacts to it but not anynthing else.
Not the text, not the background, not the reflection, not the logo's, nothing!
I have been messign with CC Lightrays in After Effects 5.5 and im using it by adding keyframes to lower and up the intensity back and fourth to make it look like the light is moving. My question is though, How can i get it so that the source of the rays is off screen yet fills the screen with its rays? Because the more you drag the source light off screen, the more it makes a cone chape of light. Also, i wanted to know how i can make the rays coming at me when im facing the camera. I have a shot where im looking at the camera and i want it to look like i'm looking into the light rays and i'm also surrounded by it.
how to create a self generating space (static stars/particles) which is driven by the movement of the 3d camera.
The reason I ask is because I need to create a space flythrough over a long period (3mins) and i don't want to create a huge volumetric space to simply fly through as it seems very inefficient. Plus it has the drawback of the partcile cloud being visible at the boudary of the volume due to the lack of particles the other side of the volumetric boundary.
What the particular effect would need to do is act as a volume attached to the cameras position and rotation which generates particles at the exact opposite velocity of the camera so it gives the illusion that the particles are static and that the camera is flying past them.
Having trouble working with a large composition and camera work. The size is 11264 x 6928 and when I add in my camera it wants to be comp size. But the size I only want the camera to show is 1920 x 1080.
Is there anyway to edit or unlink the camera and composition sizes so that they are separate? I have tried editing the comp size , adding in a camera at that point and then resizing the comp, but the camera resizes with it!!!
At the moment my work around is having the cameras z position closer to the comp and having this large comp nested within a regular 1920 x 1080. This seems all a bit unnessary though.
I'm importing two separately made images to Photoshop; both made from Sketchbook Pro on the i Pad. One is a background, the other is just a doodle. (background)
(original doodle)
What I've done so far is use "Color Range..." to remove just the black, then apply the "Darken" effect within the Layers Palette.(current view)
What I must know is how to use my doodle layer as a mask; to use the texture from the background image in the doodles brush strokes, but not be seen in the areas that used to be black.
I aim to use this effect in many kinds of imported images made from my i Pad, as well as handwritten graphics. I trust this would be very simple to use with actual typed-out text, but I'm having difficulty to find pre-existing solutions.
I'm importing dxf files from the structural engineering program RAM Structural Systems where my buddy down the hall is modeling beams/columns/ etc in 3d. Importing is not a problem but I would like to know if there is someway to map the layers from his dxf to come in on my layers in cad instead of having to go through and select each object and place in on my desired layer. RAM does use layers for each member. For example :
when he models a beam in RAM its on an SBM layer. Is there a way I can make that SBM layer come in on my S-Beam layer that I have setup in cad?
In short I'm trying to find a way to not have to go through each dxf he emails me and place things on the layers I want them on in cad. I was curious if there was a way I could make cad recognize. SBM layer will be mapped to my layer S-Beam when imported.
I'm matching 3D layers in AE to footage shot with camera. When I try to work with this I seem to work with sizes that AE can't cope with. In real life a layer should be 20 meters away from the camera. When I try to set these settings it jumps back to about 12 meters. ALso the camera can't be offset more than about -12000 mm (12 meters). That's no good. After Effects seems to work with tiny sizes. (you can't use meters or even cm as units, just mm). When I look in top view in my windows everything is out of reach. can't find the camera, can't find the layers. So...of course it's me doing something wrong and AE should be set differently, but how?
