Camera Layer and PSD

I looked at one of the templates in bridge and observed that the timeline had photoshop layers with camera labels. Please could anyone tell me how this was achieved? I hope I am understood?

I mean, I have the CS4 production package and I am working with After effects. I clicked on (browse templates in bridge) and opened the bending light template. One of the nested compositions had photoshop layers but on the timeline the label color was pink (which is the color code for camera layer) instead of lilac. i dont know how this was achieved because I tried doing thesame thing in my own AE composition ie having a pink psd layer.
I hope I have communicated.

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Camera layer and 3D layers

Hi!
I have a camera layer and many 3D layers, but there is a 3D layer which I don't want to be affected by the camera layer. How could I do this?

Nest the layer in its own comp with its own camera (which can be the default camera, if you like). So long as you don't collapse transformations on the nested comp, the 3D layer will then be rendered based on the nested comp's camera, and the resulting image will be treated as a 2D layer in your main comp.
The quickest way to do this is to pre-compose the layer.

Camera Layer Keeps Zooming in When Orbiting Between Two Keyframes

I have a simple 3D text layer. I set up a camera layer and placed it above the text layer in the timeline. I then used the camera orbit tool to set my two keyframes. I just want the camera to track slowly around the text about 60 degrees.
The problem I'm having is: In between the camera's two keyframes, it wants to zoom in and then zoom back out. This only happens right in the middle of the two keyframes. The camera starts out fine, starts to track, then zooms in, zooms back out, and then ends exactly where it should.
Does anybody know what I am doing wrong? This is driving me crazy.

Does anybody know what I am doing wrong?
Yes, you are not adjusting the handles and creating a linear path. Also read this: http://forums.adobe.com/thread/422875?tstart=0 You are trying to make things a bit too simple, so I strongly recommend you read the help and study additional tutorials. Without the basics, you will forever get stuck on such simple things.
Mylenium

Getting pixelation when I add a camera layer to my imported .mov. Even more pixelation when rendere

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. Any ideas? Thanks!

Ok, so here is a screenshot of the original composition. There is no camera layer added here and as you can see the resolution is very clear with little or no pixelation.
Next, is a screenshot of the above composition, after it has been rendered and imported as a .mov in the second composition. Here is where I added the camera layer. The reason I did this is because when I added the camera layer to the first composition (pre-render) my layers would move or resize and my initial animations with the doors opening would be thrown off and my wipes wouldn't work correctly. It became so time consuming to do it this way and have to go back and adjust everything, so I decided to go the quicker route and export then nest the .mov and then add the camera layer. As you can see it becomes more pixelated and as Andrew says "soft" around the edges.
Here is a screenshot from the above rendered comp's .mov file. In the .move it seems even more pixelated and the color is not as sharp either. It looks faded. While it's not too bad, it differs from the rest of the composition I have it combined with in my final composition, so it stands out. This section is my most complication and it should stand out in a good way, and we don't want the quality to distract the viewer from message and fun animation.
So if Andrew is correct, then do I have to go back and add the camera layer to the original composition and if so, is there a way to do so that won't alter the layers and animations?

Pan camera layer?

I have some text offscreen, which I would like to pan my camera layer towards. I can only seem to get the camera to change angles. I would like to move the camera along the X axis, kind of like when you change the Z position. (When I change the Z position, the camera actually moves back and forth, but when I change the X and Y, it just changes angles, the center point stays the same)
Thanks!

What the heck?
It was working a month ago, when I asked the question, now I try to do it again, and it doesn't work?????
What's wrong? I parent the camera to the null (the parent column of the camera layer shows 1. Null 3)
It's very irritating in a time of urgency...
EDIT: Ok, also, when I just try and move the camera by itself (no longer parented to null), it won't even rotate? No movement is given whatsoever. Is that a clue that I have some setting off or something?
EDIT 2: I just closed, and re-opened, and now it works. Strange, but oh well...

Include Develop settings in metadata inside JPEG, TIFF, and PSD files ignored when unchecked

In the Catalog Settings under the Metadata tab, I have unchecked the option 'Include Develop settings in metadata inside JPEG, TIFF and PSD files'.
I then selected a JPEG photograph in the Library module and chose Metadata/Save Metatdata to File. I wanted to save the metadata that I had added (keywords, IPTC, rating, etc), but not the develop settings.
I then imported the jpeg back into another catalog. The metadata I had added was there as expected, but so are the develop settings. This I did not expect or want.
Have I got something wrong here? My understanding is that turning off the 'Include Develop settings in metadata inside JPEG, TIFF and PSD files' option means that develop settings are not written to the xmp area in non raw files such as jpegs.
Looks like a bug to me.
Tony

Hello all,
I have investigated this problem further and now have the answer. It is not that the option "Include Develop settings in metadata inside JPEG, TIFF, and PSD files" is ignored, but it appears that the LR catalog is not properly updated when this option is turned off.
Here are steps to test and illustrate the problem:
1. Create a new folder and place a copy of an original jpeg image (original from camera) in the new folder. Make sure you keep the original safe and only work on copies.
2. Create a new catalog in Lightroom 2.3.
3. Import the jpeg image from the new folder.
4. Add some metadata (keywords, ratings, title, caption, IPTC data, etc).
5. Make some Develop adjustments to the image.
6. Open "Catalogue Settings" from the Edit menu and check (enable) the option "Include Develop settings in metadata inside JPEG, TIFF, and PSD files". Uncheck (disable) the "Automatically write changes into XMP" option.
7. Select "Save Metadata to File".
8. Delete the jpeg image from the Library module, then re-import it.
9. Copy the original image back to the new folder, replacing the updated jpeg (once again, the jpeg image now contains no metadata from Lightroom). At this stage, Lightroom fails to recognize that the metadata in the LR catalog doesn’t match the metadata content in the jpeg file. I would have though that it should.
10. Open "Catalogue Settings" from the Edit menu and uncheck (turn off) the option "Include Develop settings in metadata inside JPEG, TIFF, and PSD files".
11. Reset the Develop settings.
12. You now need to make a change to the metadata like increase or decrease the rating (otherwise LR won’t save any metadata to the jpeg file - LR is being too smart and thinks it’s already up to date, so does nothing when you do the next step).
12. Select "Save Metadata to File".
13. Delete the jpeg image from the Library module again, then re-import it again.
14. Look at the develop settings (that you specifically did not want saved within the jpeg file in step 10).
Although the Develop settings were Reset in step 11, you have ended up with the original Develop settings from step 5. It is true that LR has not saved the reset develop settings, but it also hasn’t removed the old develop settings that are still stored in the catalog. This must be considered a bug (oversight). Note that it has also saved an Import snapshot as well.
For the more technically minded (and the LR developers if you are listening), the field "xmp" in the table "Adobe_AdditionalMetadata" is not updated (old camera raw settings and snapshot settings are left behind) when the "Include Develop settings in metadata inside JPEG, TIFF, and PSD files" option is unchecked (disabled) and it seems that this is the data that is written to the jpeg file when you select "Save Metadata to File". Note that the state of "Automatically write changes into XMP" has not effect on this process - I tried it on and off.
Hope that this might be of some help to others one day.
Tony

External Editor only TIFF and PSD

I want to edit my photos in Photoshop but in the Preferences there are only the TIFF's and PSD formats supported - since my original files come as JPEG's it would be sufficient to safe the files as high quality JPEG's. Is there a possibility to edit a PLIST file in Aperture, that this option gets visible in the Preferences?

my qustion is would not this be the perfect job for a
DNG file in
a future V. of apeture ?
I can state this would not be a good way at all to handle this situation. The problem is this - you have been working on color and other adjustments based on the Aperture RAW conversion (which itself you have probably carefully tweaked as to sharpness and noise reduction).
Using DNG and going to some other program to edit, you are relying now on the ability of that other program to do exactly the same RAW conversion and also do all of the adjustments Aperture did in exactly the same way. As you might imagine, no other program has a hope of doing the conversion and adjustments exactly as Aperture does them, for they are not Aperture. Thus when you did sharpening or some other adjustment in that other program it would be based on a different RAW conversion that may well not have the exact same combination of RAW adjustments applied.
That is why when moving to other programs to continue editing a rendered format (such as TIFF) is the way to go, because it exactly preserves all of the editing you have done to that point.
As to the posters original question it would not actually be that great an idea to send a JPG over to the external editor because it would have to be a brand new JPG with your adjustments applied, and then when you saved it from the external editor you'd have a 3rd generation JPG file and every time you edited it after you'd have yet another generation of JPG loss.
What you can do to conserve some space is to select PSD for external editing, and then in Photoshop (or whatever you open the file in) convert to 8-bit mode (by default it's 16).
Just think of ti this way - that JPG is no longer a JPG, it's your new master! Preserve quality at all costs (well at least space costs).
Messing with the plist file may give you an 8-bit PSD file directly, I have not messed with those settings after 1.1.1 came out.

How Camera Raw and Various Profiles Handle Transition Into Overexposure

With all the attention I've been paying to profiles lately, I have been opening a lot of images with bright blue colors (hence my recent post on trying to get better blue sky color).
One of the things I've noticed is that the transition into overexposure appears to be handled VERY differently depending on the profile chosen.
Of particular interest is an image I shot recently toward a stage where some bright blue lights were shining on the crowd and into my Canon EOS-40D's lens. I was surprised at how differently the transition into overexposure is made depending on the profile chosen.
Notably not one of the Adobe-supplied profiles handles this transition smoothly at all, showing some sharp transitions - which helps explain why I had been having such trouble with sky color.
Some examples follow (these have all been converted to sRGB for display via browser). Specifically note the area around the bright blue light in the upper-right.
Adobe Standard profile, as supplied with Camera Raw by Adobe:
Camera Standard profile, as supplied with Camera Raw by Adobe:
Camera Landscape profile, as supplied with Camera Raw by Adobe:
The very good 40D "DPP Standard sRGB" profile Vit Novak provided me a couple of days ago, based on his measurements of how Canon DPP handles color:
The in-camera JPEG:
-Noel

That's awesome!
For "normal" exposure levels it exactly matches the other images converted with the profile you developed before, but the hard edge (e.g., seen when the edges of the image are lightened by Vignetting Correction) is gone. Well done!
I tried it on a number of other images and found that the transition from blue sky to whited-out overexposure was indeed noticeably better, with the sky going to cyan slightly less quicky. For example, I have an evening time exposure with the sky transitioning to overexposure. I converted the image once with Adobe Standard and each of your profiles, and put an extreme Curves adjustment layer over the top to more easily see the transition. Note the color, in particular, of the sky transition into overexposure with the three different conversions, your most recent on the bottom.
You really have gotten your head around how these profiles work with Camera raw, and you do damned good work with that knowledge, Vit!
Let's review the features of this profile:
1. It matches the camera color virtually perfectly, which I for one find an excellent starting point for further Camera Raw adjustments.
2. It handles transition into overexposure IMO as well or better than the camera manufacturer's software and hardware.
3. Since you developed it to match the camera manufacturer's sRGB conversions, and THEY don't think channel clipping is acceptable if the user has chosen to convert to sRGB, it has solved the problem with channel clipping that I had seen with all the Adobe profiles when converting directly to sRGB, and has thus made the action I had been using to do a "bend the edges" conversion unnecessary.
There is nothing not to love here!
Vit, I don't know how much work is involved with making such a profile - clearly you've put some serious time into getting where you are, but would you be interested in partnering with me and selling sets of profiles with characteristics like this one to others who would like to get the best possible Camera Raw or Lightroom conversions? If so, let's talk off the forum via eMail.
-Noel

Weird issues between iPhone Camera Roll and iPhoto?!?!?

I just noticed when opening Photos and then my Camera Roll of pics taken with my 3G that there is a large black irregular shape area covering the top 2 rows of pics and part of the third row as well. I have exited and returned to the app, shut down and restarted my iPhone and no change. If I tap in the black area (don't know what I'm tapping) it will bring up whatever photo is actually there, but there is no way to see it in the thumbnail preview screen because of the black overlay. If I connect the iPhone to my Macbook and open iPhoto, it seems to see that there are photos in my Camera Roll, but they are all blank and iPhoto thinks there are 32 photos there but there is not that many because I have deleted some of them :-O Clicking on a blank photo does not bring up the actual photo, just nothing happens.
So, to try and remedy this I manually deleted all the photos from my Camera Roll on the iPhone, so there were NO PHOTOS in the Camera Roll and then did a sync with my MacBook. iPhoto still thinks there are 32 photos and they are all blank placeholders like before! I tried to "import all" just to see what would happen and 4 were readable and the rest were "unreadable files". I said to delete all the photos after importing but it still lists 32 photos there. Even when the iPhone is disconnected, the iPhone icon stays in iPhoto and I have to manually unmount it. So, there is total disconnect between what is actually on my Camera Roll on the iPhone and what is being seen by iPhoto. It's as though iPhoto is stuck in a particular point in time and can't get rid of some cache or memory of a previous iPhone Camera Roll state. Before updating to OS 3.0, whenever I unplugged the iPhone after a sync, the icon would disappear as a mounted drive in iPhoto so that has changed as well.
I have no idea where to even begin trying to fix this problem. I'm using iPhoto 7.1.5 and not sure whether this is an iPhoto problem or iPhone problem or both?!?! Any feedback would be extremely appreciated!
Message was edited by: Joshua Morganstein

I'm having a similar issues. Every program on my Mac that is capable of acquiring images from a digital camera (iPhoto, Graphics Converter, Image Capture, etc.) thinks that my iPhone is mounted and that there are 77 pictures to download. It doesn't matter whether the phone is actually connected to the computer or not. I've even restored the iPhone to the factory state and it makes no difference. Thus, I believe the problem to be on the Mac itself. I don't know the details on how it works (could anyone enlighten me?) but I'm very surprised that multiple programs are having the same issue. Obviously, there is some layer that is between the actual device and the programs that use the device. That layer must be corrupted. But what is it, where is it, and how can I fix it?

Crash with Camera layer

Hi!
I got an effect plugin using composition's camera.
Here's how I get the Matrix and Zoom values:
ERR(suites.PFInterfaceSuite1()->AEGP_ConvertEffectToCompTime(
in_data->effect_ref,
in_data->current_time,
in_data->time_scale,
&comp_timeT));
ERR(suites.PFInterfaceSuite1()->AEGP_GetEffectCamera(
in_data->effect_ref,
&comp_timeT,
&camera_layerH));
if (camera_layerH){
ERR(suites.LayerSuite6()->AEGP_GetLayerToWorldXformFromView(
camera_layerH,
&comp_timeT,
&comp_timeT,
&matrix));
AEGP_StreamVal2
camVal;
ERR(suites.StreamSuite4()->AEGP_GetLayerStreamValue( camera_layerH, AEGP_LayerStream_ZOOM, AEGP_LTimeMode_CompTime, &comp_timeT, FALSE, &camVal, NULL));
zoom = camVal.one_d;
} else {
//DEFAULT CAMERA
ERR(suites.CameraSuite2()->AEGP_GetDefaultCameraDistanceToImagePlane( compH, &zoom));
matrix.mat[3][0] = in_data->width / 2.0;
matrix.mat[3][1] = in_data->height / 2.0;
matrix.mat[3][2] = zoom;
The code works fine when moving the camera with the camera tool (or custom camera views), or when typing values for Camera's geometry. But I get a crash when I "drag" the geometry values (like dragging the rotationX number...) instead of typing them...
And the main problem is I don't get any clue, as AE crashes before the compiler can tell me anything. If I try to go line by line in my code, of course, no crash.
The bug happens on AE CS5.5 (I haven't tried it on CS5 yet), and disappears with CS6, CC & CC 2014.
Did anyone encounter this kind of issue before?
Thanx in advance,
François
PS: is it the best method to get the camera data?

Thanx for the help once again Shachar!
In fact, I couldn't use PF_ABORT as I was getting these values during frame Setup (but I've been transfering the code to Render call, and the bug was the same)...
So your advice put me on the right path. So here is the solution for the record:
I was keyframing some mask during frameSetup (just after getting camera data), and the crash occurs when camera is before my layer in the collection list.
So, I just check the version (the bug disappears with CS6) and deselect the camera or layer if needed.
Messy, but working...
Thanx again.
Cheers,
François

I entered text on to my background layer and now I can not edit it. Is there any way to edit this?

Please help! I am trying to make a Christian calendar and entered text on to my background layer and can not edit this. I have tried to duplicate the background layer so it is not locked but I still can not edit this text. Does anyone have any suggestions?

The text should be on its own layer. If so, you can delete the layer and start over.
If you have flattened the image layers, open the undo history palette, and go back to the state prior to flattening.
If you saved the original file as .PSD, then the layer structure should remain intact for further refinement in a subsequent session.

Camera layer not animating?

Hello,
I am working on a project where I need the camera to move around within the frame. I attempted to do this by setting a camera layer on the timeline and animating the key frames. This didn't seem to work, what am I doing wrong?
Thanks,
Alex

I don't see any 3D layers in your composition.
from After Effects Help:
http://helpx.adobe.com/after-effects/using/3d-layers.html
"Only 3D layers interact with shadows, lights, and cameras."

The camera wont move in camera layer

Hey why wont the camera move in
camera layer? I have put alle the other layers to 3d. But when i try to move
it around like the points of interest and stuff, it does move!
of course I used keyframe etc.

See this page and the resources that it links to: "Move a camera, light, or point of interest"
If you're still having troubles, write back to tell us exactly what you're doing.

Shadows and PSD's

When I insert a PSD photo(from Photoshop) with no background layer and then add a shadow to it, in iWeb the shadow appears only under the actual image. However, when published, the shadow appears under the entire 'box' of the PSD image. Is there a fix for this?

Have you tried just adding the PS image w/transparent background (no drop shadow) to iWeb and adding the drop shadow with iWeb? I save the PS image as a PNG image using the File->Save for Web and Devices menu option. Then add that to the iWeb page.
Using Koeklin's suggestion for combining image and drop shadow into one image with Preview will make the page "lighter", i.e. fewer files to load and, thus, allow it to load faster in browsers.
The three methods, PS with dropshadow, PNG image with drop shadow added by iWeb and using Preview to combine the PNG and drop shadow into one image are shown on this test page: Page-2 .
I didn't try to feather the drop shadow in Photoshop.
OT

3D Camera Tracker and Effects

Hello Everyone.
I have noticed when using Tracking with 3D Camera Tracker, and having effects, It dose not work well. So what we have to do when using Camera Tracker and Effects ? Maybe using a Precomp and apply Effects, and Track ?
Also, I used The Foundry Camera Tracker many times, and I noticed the After Effects 3D Camera Tracker did a better job.
Off course, I am very new to Tracking.
Thank you very much.

The proper workflow for most tracking is to track the original shot then use the tracking information to control something else. In the case of 3D camera tracking you apply the data to a camera and position a reference layer in the scene.
In some cases, where there is a lack of detail or the tracked object can be better defined by the addition of things like Color Correction effects you would apply the effect, pre-compose or pre-render to a lossless DI and then track the modified shot. Generally you would not use this modified shot in your production, you just want the tracking data.
On rare occasions there are compression artifacts or Intra Frame compression problems with the original footage that you will only get a successful track if you render the original to a lossless DI before tracking. You also need to render a DI if your original codec is not compatible with the tracker. Mocha is very sensitive to highly comprised formats and the Warp Stabilizer (a form of tracking) and AE's other trackers may also not like highly compressed originals either.
There is also one un breakable eternal law that no one has yet found a way to circumvent. Some shots will not track with one tracker but may track with another. IOW, you may not be able to do a 3D camera Track with the Foundry's Camera Tracker, or AE's Camera Tracker but you may be able to get a successful track with Syntheyes or MOCHA Pro, or other tracker software, but some shots cannot be tracked with any software. For example, an aerial shot of the ocean from an airplane cannot be 3D camera tracked because there is no fixed geometry in the shot. A shot of a wheat field with the wheat blowing in the wind many not be able to be tracked because there is no fixed geometry in the shot, but it may be able to be stabilized if the horizon is well defined.
If you apply any distortion effects or do masking or anything else the the shot will only track if you pre-compose but the effects may throw off the final result. If you must apply effects do them after you track the shot unless paragraph 2 applies. If your track fails and you are confident that there is enough fixed geometry in the shot to track then see paragraph 3.

Camera Layer and PSD

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