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The easiest way to do this is to sync the scaling and make a cross dissolve between them as you do the scaling. You want it to fade fairly quickly as you work your way in. One layer would be the many images in whatever arrangement you want, the other would be the overall logo. This is also often the technique used for doing a smooth zoom in on a satellite ...


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I know that cmd clicking on the time stamp in the left corner alternates between frames and seconds Thats exactly whats happening here.You switched to frames so After Effects is showing the frame count instead of a second count. Do a ctrl click on the time stamp and you will get seconds.


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It might also be that your project is set at 16-bit, but your photography is in 8-bit. You can change the bit in project settings or at the bottom of the Project folder to the left of the UI.


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Just to add to the previous responses: While there's nothing quite like Git for the video world, there are Digital Asset Management/Media Asset Management tools that can more or less do the same thing - version control and permission/user management (they also do a lot more, as they're really built as libraries for your media). For years, I used Apple's ...


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Version control in the sense of Git isn't very practical in the video world. You would need to make a specific version control tool for every audio and video tool out there as all work with their own project formats. But being able to read these formats is just one thing, then you also need the render engine of that tool to show diff's. Though all of these ...


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If you enable it in the preferences After Effects and Premiere automatically make incremental saves of the project files. These incremental saves could be used to revert to previous versions, which is like a very basic implementation of version control (you might want to increase the number of versions from 5 though). FCP has a "restore from previous ...


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Version control doesn't really have as much of a place in video editing because it is by nature non-destructive. At the core of any NLE, the output is actually something known as an Editing Decision List or EDL. This is extremely analogous to the history in Lightroom as that history is a record of all changes that have been applied in order. NLEs work ...


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This may get down-votes since it's so manual and doesn't have perfect video quality, but I'll offer it anyway. CREATING THE GENERIC TRANSITION Bring 30 clips into a project. Shrink the scale of all of them. Drag them onto the timeline so they're all playing at the same time. Position them in a grid. Export that project in the best possible quality you ...


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You could also pre-comp the second smaller layer, then apply the scale inside the comp. Getting the timing on the keyframes would be harder, as you'd be inside another timeline, but if you position your time cursor at the point where you want to begin the scaling, then double click into the "inner" comp, the second timeline cursor will be in the right place. ...


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What you can do if you don't want to animate your layer unlinked from your mask (in that case use a track matte like you found out already), is to create a quick dummy layer like a solid, cut the mask(s) from your source layer and paste it to the dummy, scale the source layer and paste back the masks, they will keep their global position and scale throughout ...


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After some serious Google time I found a solution. Here is the link, but just in case is gets removed this is what they said to do. You want to use a track matte. Create a mask on a solid layer that lies on top of the layer you want to cut out. Then click on the TrkMatte dropdown menu on your footage layer, select Alpha Matte. Here's the layer order for ...


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Since your source is in h264 I'm guessing you are encoding to mp4/h264 again? The format doesn't support a frame rate of 99, you will have to use a less constrained video codec like mjpeg in an avi or mov container. Whenever you are violating certain video or audio specs After Effects will tell you that in your export settings like shown here (see the ...


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Practically you can't do this. The best you can probably do is make it more shaky and grainy. You could also drop the resolution to make it look like it had been digitally zoomed in. The reason you can't practically do it is because of perspective. When you shoot video from close up, the angle of view is much closer. A small difference in distance to ...


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When you shoot from further away you use a "longer" lens, in other words a lens with a longer focal length. This has a few effects, that you'll have to fake to make it look real. First, the perspective tends to get flattened with long lenses. You've probably seen this in the classic cinema trope of a long shot of a crowd walking along a footpath, where ...



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