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In some parts it is still pictures, in some — probably video. It is better practice to make motion-design with After Effects, but you can accomplish this in Premiere. To rotate footage in 3D in Premiere you need to add "Basic 3D" effect: Effects > Video Effects > Perspective > Basic 3D There you will find everything you need to rotate in x,y,x dimensions. ...


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Using expressions to create the trail will work, but it will have the disadvantage that you will need as many layers are there are frames of the trail, and since each one will be driven by expressions it's going to get really slow. An alternative is to make a comp with just your moving layer in it. now make a new comp with say ten of your original comps in ...


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Something that I noticed about encoding to h.264 in premiere and after effects was that when you select the VBR/two pass encoding you get MUCH better results with h.264 than a single pass with VBR or CBR (no duh, right?) in terms of color shifts/gamma shifts. It wasn't obvious to me, but after that, the color problems were barely noticeable.


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Exporting to H264 will always introduce a slight colour shift due to a gamma tag in the file header. At least, I didn't find any solution to export without a gamma shift. Neither in AE nor in any other video editing program. Maybe also have a look at this answer: http://video.stackexchange.com/a/10336/11423


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The layers in a pre-comp don't have access to information about the comp(s) they're nested in AFAIK, but I can think of a workaround in this case: apply a fill effect to the nested layer and drive its colour value using the name of the parent comp, e.g. if (thisComp.name == "Blue"){[0,0,255]} else if (thisComp.name == "Red"){[255,0,0]}… and so on. Or you ...


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random updates at the sub-frame level (so its value actually changes even during a frame, for example when motion blur is on). To force it to update only once a second you need to use the seedRandom function, with the timeless attribute set to true, and a seed that changes every second. Using Math.floor(time) will return a value that increases once every ...


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1) You can create your first keyframes 2) Then loop them out by selecting them using shift+click 3) Then alt+click the stopwatch icon 4) Then selecting property > loopoutduration will cause the keyframes to repeat themselves. see http://postimg.org/image/egbb3e3ez/ if the attached screenshots don't show.


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The way I would normally do this would be to have multiple layers, each with the identical PSD in its "starting point" magnification. For each area of interest, use the Pan Behind tool to move the anchor point to that area of interest. Then keyframe the move/zoom into that area of interest, adding whatever annotations or highlights to draw the viewer's ...


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The output file doesn't have any sound because there is no audio in the timeline that you are rendering. The output format (MP4 vs. AVI) doesn't have any effect; both formats can contain an audio track or not. Checking the box to output audio only has any effect if there is already an audio track in the timeline. If there's no audio track, the output will ...


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You need to animate the anchor point. This is the point towards which an image will zoom if you increase its scale. So when you zoom in to the paperwork you have to put the anchor point under the paperwork. Trouble is the anchor point is also the point at which the image is attached to the composition, so moving it will normally cause the image to move. ...


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To add to what integris said, your main option is to attempt to counteract the lighting changes by keyframing artificial "lighting" in the opposite direction of the real-world changes. So when the brightness decreases in the video, you need to add brightness at the same rate. If the adjustments are fast step-changes (like instantaneously changing the ...


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I'll assume the camera op was fooling with the exposure? You'll need to key-frame color correction or AE's Auto Color function may work for you: https://helpx.adobe.com/after-effects/using/color-correction-effects.html If you go the CC route it may help to watch the YC waveform rather than the image itself. The Color Stabilizer effect may also work for ...



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