Time Remapped Dolly Shot, Smooth in AE, but Jerky in Rendering

Hi,
My workflow: Canon h.264 original footage transcoded to ProRes 4444 in Compressor. Imported to HD project in AE, footage time remapped to smooth out uneveness in dolly speed, with Frame Blending turned on. AE 5.5 Mac OS 10.6
My question is that the ram preview below is relatively smooth, but when I exported a PR4444 sequence to FCP, once in the timeline it's jerky and stutters. (Forgive the sloppy mask, it's now fixed). The stutters and jerks also appear when playing the 4444 clip back in QT10, and Vimeo.
Any suggestions? Pixel Motion needed?
http://vimeo.com/39895088
Jesse

> My question is that the ram preview below is relatively smooth, but when I exported a PR4444 sequence to FCP, once in the timeline it's jerky and stutters. (Forgive the sloppy mask, it's now fixed). The stutters and jerks also appear when playing the 4444 clip back in QT10, and Vimeo.<
Depends on what your set up is in FCP. I'm going to assume you know what you're doing in FCP as far as how to set sequences properly and you know the limitations of your machine.
> Yes I'm aware of the timeline issues, and had hoped that once exported/rendered out of fcp that it would go away. The above link was a Vimeo compressed RAM preview out of AE And that plays smoothly!. Not out of fcp however. <
Well, exporting out of FCP is not really part of this equation. If you export to the codec you're using for your playback of the finished project, say, H.264 or MP4 or MPEG2, the clip will play perfectly within the capabilites of your machine and the player app you are using.
> Would it help to see what it looks like out of fcp on Vimeo? <
Nope. The vimeo clip will always play fine because, regardless of what it started out as, when you upload to vimeo it is transocded to the vimeo-friendly codec.
> Do you think this is because of the heaviness of the 4444 clip?<
Not liekly. Heavy, maybe, but ProRes is designed to be used without issues in FCP on Macs in Quicktime. One uses 4444 only if one needs the alpha. If you don't need the alpha, any of the 422s will work fine. I didn't see the mask you mentioned so I don't know why you're using 4444. It is not often that 4444 cannot be played in FCP unless the pixel dimensions are just too large or you've chosen a weird frame rate. In that case, the clip must be heavily processed before it can fit the timeline's settings.
I find the time remapping and motion smoothing capabilites of Apple Motion's optical flow functions are completely adequate for all but the most extreme screwups encountered while shooting.
Message was edited by: bogiesan

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Undesired time remapping

This one has me stumped. I'm thinking it's related to render files, but can't quite figure it out.
Had a piece that contained several clips that were speed-reduced to 40%. Not strictly time-remapped with keyframes and all, just speed reduced.
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So I'm wondering if when I play the sequence I'm looking at the render files, but when I open the clips I'm looking at...something else?
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are the original QT capture files normal or have they been affected?
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I have found media manager to never work properly so i just dont use it anymore.....
if you have time try and recapture all the original footage on the original hdrives and see if that helps.....
thats the best i can do....so i hope it helps.....
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Time remapping question

I'm still using FCP 4.5 (yeah, I know....Upgrade)
Here's my question. I have a clip of a dog running towards the camera. It's around eight seconds long. The dog is jumping around it's owner (excitedly) for the first couple of seconds and then takes off towards the camera. At the point that the dog takes off, I want to slow the frame rate down rather quickly, but not abruptly. I'm thinking that my speed change would be from 100% to 25% in about two seconds. My desire then is to run the video through the rest of duration at 25% speed at whatever duration the adjusted/extended time would be. In essence, I'm making a relatively constant speed change with just a small variable speed change in a certain part of the clip.
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I'll diagram it out if I can...
Start----2 sec (spd. 100% to 25% in two sec.) --4 secs (spd chg, done)-------run to completion what ever length is ----->
Anyone know how to do what I'm talking about?

K,
Hmm, I tired to export/import and it doesn't seem to work based on what I'm trying to do. What's happening is that FCP is "cutting off" the remaining part of the clip if it's slowed down in the time remap portion of the "motion" tab for the clip that I'm using.
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I guess it goes with out saying that I'm still learning....
Thanks again,
D

Interlaced DV PAL flickering preview time remapping video in AP CS5

Be faced with this problem, i was really surprised. I was working with HD 50p video and had no problem with slow motion. But yesterday i captured some old DV footage 25i and used time remapping to slow it. I saw surprisingly ugly flickering video in preview window!
I exported it into file and it was perfectly OK, i made output to TV though IEEE1394 adaptor - smooth nice slow motion.
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Before i used CS3 Premiere, and there was no such problem.
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Why are you talking about quality ? Everything is pretty fine, except of one case -> preview window in Adobe Premiere CS5 and time remapping effect of DV PAL in it. It's flickering.
I have read about this problem in some videoediting forums to... so i'm not alone.
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by the way, what is OE ?

Motion Tracking a Dolly Shot

I'm having a little trouble figuring this out. Thought someone on here might have done something similar.
The shot: A person walks down a sidewalk. The camera dollies parallel to them so it sees a wide of their profile. The person disappears and reappears in the shot as the camera dollies.
Is there a good way to pull off a poor man's motion tracking effect like this? Certain plug-ins to use to get it right?
A somewhat similar effect occurs a few (brief) times in this video: http://vimeo.com/24569304
Happy to clarify if that doesn't make sense. Thanks in advance!

Here's what I'd do. I'd shoot a clean take of the actor with a dolly shot with the dolly on track if possible and the camera locked off. Have an assistant keep track of the time.
Once you have a clean take, roll back and take another shot.
If you don't have a dolly and track then do the best you can to keep the shot as close as you can to the "good" take.
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Once this is all set up, remove the stabilization on the actor plate making sure that the clean plate is tied to it by parenting.
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I'll try to explain this the best way I know how.
I created a pre-comp for my character mouths (as shown in the picture below). I then created a Null Layer and parented the Time Remapping of the mouth pre-comp to the Null Layer "rotation" using the principals of this video:
Part 1: "Using Time Remapping For Lip-Sync Part 01"
https://www.youtube.com/watch?v=c5GIOtfYWpQ
Part 2: "Using Time Remapping For Lip-Sync Part 02"
https://www.youtube.com/watch?v=NNJgUz1t2rU
I'm sure this is not new.
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Are you nesting your Mouths comp in a main comp, enabling Time Remapping on that nested Mouths precomp and then animating? I can't tell from your screen shots.
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Nothing like instructions in the wrong sequence, right?

Auto Time Remapping around synch points

I have an extended video shot of a performance and an audio recording from another performance which is obviously inconsistent in synch points. Is there some way I can keyframe corresponding points on both video line and audio line where my picture and sound are in synch, then have Premiere simply snap to those points? After this I could tweak the duration in between.
Premiere's Time Remapping as I grasp it is so cumbersome that I usually end up just chopping my shot into segments, synching where I need to, then expanding the in between segments using Speed/Duration. There's got to be a more intuitive way to match synch than the clinical style of Premiere's Time Remapping as I understand it so far.

I am waiting for a quiet moment to take on the 3 and 4 point editing but my gut feeling is that it is not the solution I seek, though I am open to the possibility that it may work for me. There's an important aspect to what I need that this techigue does not appear to address. That is that my extended shot calls for multiple synch points points (it is two different performances that call for lip synch). The objective I'm looking for 'finds' all matching synch points thast I have designated. After that, it should allow fine-tuning at new keyframable points throughout the duration to adjust imtermediate speedup/slowdown.
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The problem occurs when you have a sequence of layers (each layer taking up a single frame) that is precomped.
For example, this expression can cause problems:
thisComp.layer("frame controller").effect("Slider Control")("Slider").value*source.frameDuration;
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Sorry guys, I think I have done a poor job explaining this bug. It has nothing to do with lip sync, or expressions.
Mylenium seems to express some knowledge of the problem - that being the image caching feature introduced in CS6. I did notice *less* of these problems with CC. So it means that Adobe is aware of it and trying to fix it. But I think something remains unstable in there.
When I considered the upgrade to CS6, I did a number of tests -- rendering out lots of our old work, to see if anything didn't render correctly. And wow, was that something. Most renders showed some kind of glitch -- all in our layer sequences (eyes, eyebrows, mouths, anything time-remapped basically).
With CC, I did the same test, and the renders were all perfect, as they were in CS5.5. So I figured they must have fixed the problem, and they did to a large extent.
But now after using CC for a few weeks, I am seeing these problems crop up again.
AE has no problem with 'image sequences', that is, a series of still images files, which are treated by AE as actual footage. It seems to have issue with the sequencing of layers in a sequence, that is taking 20 layers, and using Keyframe Assistant - Sequence Layers. I think this is because of the way AE treats Comps differently from Footage. Footage is composed of discrete frames, with nothing inbetween each frame. Comps however are treated with floating-point time. Which is great when you *want* to 'slow down' a Comp, because it can do so smoothly. But when that Comp contains a layer sequence, I think this floating-point time makes AE confused, because the Comp doesn't contain nice, infinitely-scalable interpolated keyframe animation, but instead discrete pieces of artwork with no interpolation possible. My solution to this problem -- and it works -- is to add a 'half-frame' to the calcuation. This I think reduces the likelyhood of incorrect math going on with the image cache, because it's less likely to 'round down' to the previous frame.

Time Remapped Dolly Shot, Smooth in AE, but Jerky in Rendering

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