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  • s 3:22 PM on 130220 Permalink | Reply
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    Animating Vectors in AE 

    AI
    In Ai make a shape, and animate the second version. make sure the shape is a solid clean vector. Use the Shape Builder Tool for cleaning it up.

    On a solid, first make a mask, then past the copied shape from AI, keyframe and copy in again

    Set first vertex on the two different mask shapes

    http://tv.adobe.com/watch/no-stupid-questions-with-colin-smith/creating-organic-animations-using-illustrator-paths-in-after-effects/

     
  • s 10:35 AM on 130218 Permalink | Reply
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    Universal Subtitles Tool 

    http://blog.witness.org/2012/02/universal-subtitles-video-editing-workflow-working-with-the-subtitle-track/

    Universal Subtitles is an online subtitling/captioning tool for web videos. My colleague Bryan Nunez commented on the potential uses of the service in this post. You can use Universal Subtitles to translate videos that already exist online, e.g, on YouTube or Blip.tv, regardless whether they are in your account or someone else’s account. You can watch a step-by-step video tutorial here that demonstrates how to use the subtitling interface.

    Once the translation is finished, you can (1) share the video with the subtitles by embedding it in a web site, blog post, or a social networking site. Alternatively, (2) you can download the subtitle track to use locally on your computer. The subtitle track is available to download in several formats: SRT, SSA, SBV, DFXP, etc.

    In this post, I will go over the second of the above two options – the various ways you can make use of the downloaded subtitle track. [flickr id=”6871166605″ thumbnail=”small” overlay=”true” size=”medium” group=”” align=”right”]

    I. We most recently used Universal Subtitles to create Arabic subtitles for a training video. I will add a link to it here once the video gets published. Once the subtitles were done by a remote volunteer translator, I downloaded an SRT file from Universal Subtitles and uploaded it to the YouTube account where the video lives (learn how). This way, the translation lives together with the original video and it is available to access directly on YouTube via the CC button, or it can be embedded in a web site. The advantage of embedding via YouTube is that, unlike Universal Subtitles, YouTube does not use Javascript to generate the embed code – Javascript is viewed as a security risk by some platforms.

    [flickr id=”6836521551″ thumbnail=”small” overlay=”true” size=”medium” group=”” align=”left”]

    II. Alternatively, you can use the SRT file with VLC player to play the video with the subtitles locally on your computer.

    Both YouTube and VLC automatically format the subtitles – font, font size, line breaks, etc. Notice how different the same subtitle looks in the two screenshots.

    Automatic formatting works pretty well in most cases. However, translating specialized human rights language usually results in more text than the original English. So, it’s a good idea to format the translated text for an optimal viewing experience.

    However, when I tried to open the SRT file for editing on my computer the Arabic script did not show correctly. To fix this problem, I used a tool called TextWrangler to change the font encoding to Unicode (UTF-16). [flickr id=”6871004135″ thumbnail=”small” overlay=”true” size=”large” group=”” align=”right”]

    III. Now, with the Arabic script showing correctly, I was able to import it in a tool such as Submerge to create a version of the video with the subtitles burned in the image. However, Submerge has limited text formatting options.

    IV. The best way to format the text is to bring it into FinalCut, Premiere, or some specialized subtitling software. However, bringing subtitles into FinalCut Pro is not as straightforward as importing an SRT file to Submerge. To import the subtitle track in FinalCut, you need a specific type of XML file called XML Interchange Format.

    [flickr id=”6836189381″ thumbnail=”small” overlay=”true” size=”medium” group=”” align=”left”] I used a tool called Title Exchange to convert the SRT file (the file I saved with Unicode (UTF-16) font encoding) to XML for FCP. (Remember, I only had to change the font encoding because my subtitles were in Arabic – Latin and Cyrillic scripts should work straight forward). Read instructions on how to create XML for FCP with Title Exchange.

    Then, I imported the XML into FinalCut Pro to edit and format the subtitles for optimal viewing. [flickr id=”6836777553″ thumbnail=”small” overlay=”true” size=”medium” group=”” align=”right”]

    From FinalCut, you can either export a QuickTime with the subtitles burned into the video image or export the subtitle track as an XML file, then use Title Exchange to convert it to STL, a format that is not currently offered by Universal Subtitles, and import it into DVDStudio Pro for DVD authoring. Watch this video tutorial.

    V. Alternatively, you can import the XML file in Adobe Premiere. Also, you can use Title Exchange to convert the XML file to Adobe Encore text file for DVD/Blu-ray authoring.

    Universal Subtitles is a very useful tool for crowd-sourcing translation and subtitling of online videos and we would love to see some additional features that would simplify the above described process – options for text formatting in the subtitling interface – line breaks, font, font size, etc., also, some additional subtitle formats: STL, XML for FCP/Premiere, and Encore text file.

     
  • s 10:33 AM on 130218 Permalink | Reply
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    Crowd Sourced Subtitling 

    http://www.amara.org/en/

     
  • s 10:21 AM on 130218 Permalink | Reply
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    CS6 subtitling 

    POST : Then you could use the “Closed Captioning” function of Premiere to show the files in Premiere.

    If You need to burnin subtitles take a look at: PT ImportSubtitles for Afeter Effects. You can render SRT-Subtitles with the AE Text Tools in AF and then send a Dynamic Link to your Premiere timeline…

     
  • s 7:33 PM on 130217 Permalink | Reply
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    Royalty Free Music For Videos 

    Royalty Free Music For YouTube Videos | Who Is Matt? Matt Johnson Productions.

     
  • s 7:29 PM on 130217 Permalink | Reply
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    Warp Stabilizer Settings For Adobe Premiere and After Effects 

    The Best Warp Stabilizer Settings For Adobe Premiere and After Effects CS5.5 and CS6 | Who Is Matt? Matt Johnson Productions.

    Most shaky footage comes from a lack of control of the camera and is especially prevalent in DSLRs due to their small size.  The form factor and weight don’t lend themselves to a steady shot which is why you often see DSLRs decked out with full shoulder rigs, weights, and setups that resemble something more appropriate for fishing than stabilization.  With the popularity of DSLRs as well as the smaller sizes they are making cinema cameras these days, it makes sense that they would need help in software if you want to have any hope of shooting handheld.

    One of my favorite new effects included in Adobe After Effects CS 5.5, CS6, and Adobe Premiere Pro CS6 is the Warp Stabilizer.  For many years if you had shaky footage your only option was to either spend hours tracking a moving object in After Effects with keyframes in the hopes of it working properly, or learning how to use an expensive plugin software such as Mocha.  Thankfully, Adobe realized there was a need for a much quicker solution that would work for the majority of the clips being filmed in the world today.  Thus, Warp Stabilizer was born and now stabilized footage is only a quick click away.

    The good news is that Warp Stabilizer’s default settings work for the majority of the clips that you throw at it.  If you have a decent clip it will usually make it great, and if you have a great clip with maybe a slight bump in it, (think slider with an uneven bit of railing) it will make it look perfect.  All the computing, tracking, and general analyzing happens in the software and you end up with a great clip in around 1 minute.  But, this post isn’t for those people that just throw it on and have it work.  This post is for two kinds of people, those that like to tinker and want the best possible looking clips with ultimate smoothness and stabilization, or those that have thrown the Warp Stabilizer Effect on a clip and had it result in Jello, distortion, and rolling shutter.

    I found that I often deal with Jello and distortion on my clips when I am shooting handheld and if my camera rotates even a slight bit.  I believe this Jello distortion is due to the way the Effect software analyzes the clip.  Simple explanation: Warp Stabilizer actually analyzes the entire clip in 3D space and is able to tell which objects are in the foreground and background.  Sometimes it has issues with differentiating which is where I believe the Jello distortion becomes evident.

    The following are the settings I would recommend trying out if you are wanting to remove the Jello distortion effect from your clip.  These settings are applicable to both Warp Stabilizer in After Effects CS5.5 and CS6, as well as Premiere Pro CS6.

    To add Warp Stabilizer to your clip in After Effects CS5.5 and CS6, select your layer that you want to apply it to, and go to “Effect > Distort > Warp Stabilizer.” In Premiere Pro CS6, select your clip you want to apply it to and go to your“Effects” window and select “Video Effects > Distort > Warp Stabilizer” or search for it in the Effects search box.

    I will go through them in the order that I usually try when I run into problems with Warp Stabilizer.  Each clip you film will be unique and there is no guarantee Warp Stabilizer will treat each one the same.  While it is always better to film your footage as stable as possible, having the ability to fix your clips that have problems is wonderful.

    Settings to Fix Jell0 and Distortion in Warp Stabilizer

    By default, Warp Stabilizer chooses “Smooth Motion” – 50%, with a method of “SubSpace Warp.”  Your video borders framing will show “Stabilize, Crop, Auto-scale”.  If you’re running into problems of your clip becoming distorted and looking like Jello, I would recommend the following methods to try and clean it up.  If one does not work, try the next until you are satisfied with your clip.

    1. Click the “Advanced” arrow and check the “Detailed Analysis” box.  This will require you to re-analyze your footage and it will take longer than before, but sometimes this is a quick fix.

    Detailed Analysis

    2.  Click the “Advanced” arrow and adjust the “Crop Less <-> Smooth More” percentage from “50% down to 5%”in increments of 10.  For example, change it to 40%, let it stabilize, then check the footage if its improved.  Each time you lower this percentage the video will become a bit more shaky, but it will introduce less jello into the image.  It is helpful to turn this down if you have just a slight amount of shaky-ness (perhaps due to handholding your camera), and you want to smooth it out.

    Crop Less Smooth More

    3.  Click the “Stabilization” arrow and change “Smoothness” from 50% to 5%.  This reduces the smoothing that Warp Stabilizer will attempt to apply to your clip, and while it will result in a slightly more shaky shot, I find that my shots often don’t need that much smoothing.  This often cuts out a lot of the distortion and Jello effect.  

    Smoothness

    4.  Click the “Advanced” arrow and change “Rolling Shutter Ripple” from “Automatic Reduction” to “Enhanced Reduction.”  This setting is usually only helpful when dealing with Rolling Shutter introduced from the CMOS sensors used in DSLRS and other popular digital cameras, but it doesn’t hurt to try using it.

    Rolling Shutter Ripple

    5. Click the “Stabilization” arrow and change “Method” to “Position.”  Then click “Borders” and change “Framing”to “Stabilize, Synthesize Edges.”  With this setting, Warp Stabilizer will actually create new edges for your footage from existing pixels.  As long as it isn’t being forced to make up too much information it usually does this very well.  The tradeoff is that I almost always have to render my clips before viewing them because of the enhanced processor power required.  Try using Synthesize Edges while changing the Smoothness percentage.  This usually fixes the Jello/distortion in my shots when nothing else will.

    Synthesize Edges

    Hopefully by changing these Warp Stabilizer settings your video will look distortion and Jello free.  Keep in mind though that each video clip is different and will require a different technique.  There are plenty of other settings to tweak when using Warp Stabilizer, be sure to experiment with them as well.  Let me know in the comments below if you find another great Warp Stabilizer technique.

     
  • s 7:27 PM on 130217 Permalink | Reply
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    CS6 Premiere Crop on Export 

    http://whoismatt.com/cinemascopetutorial/

    When exporting for streaming or viewing on a computer such a YouTube, Vimeo, etc. you will want to click the “eye” on the “croplines” track and make it invisible.  Then you will go to File>Export Media and create a custom render setting using h.264 at 1920×817.  This will just result in a squished video if you do not set the export to crop the video file as well.

    Under the “source” tab in the top, left click the crop button and change it to “Top: 132, Bottom: 131″ – leave the Left and Right at 0.  This will crop your video in the same way as using the croplines did but will result in it being an exact fit.  For some reason if you leave the croplines on your videos on vimeo, it will have extremely small black bars visible on the top and bottom if you do not do this.  Theoretically you could just do this and not bother with using the “croplines” PSD file as a track in your editing but then you would miss out on it as a guideline to help you figure out what is visible in your shots.

    DVD and Blu-Ray: For DVD and Blu-Ray, export as you would normally with the croplines visible.  Whatever resolution you export at, the croplines will be visible and work to create a 2:35:1 aspect ratio for your footage.  Note: In some cases when burning DVDs, specifically with Adobe Encore, I have run into an issue where the footage would overflow the edges of the croplines, creating a weird effect where the viewer could tell that the croplines were just a layer in the footage.  To fix this, when I am editing and planning on rendering specifically to DVD, I select the “croplines” track in Premiere Pro after importing it into the sequence, and select “motion>scale” and change the scale from “100.0″ to “101.0.”  This prevents this footage overflow effect where it is visible at the edges of the croplines.

    online-export-156x300

     
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