3

There is no way to "bypass" long render times. After-Effects needs to calculate where every pixel has to be and then pack all this information into a container such as .mov or .mp4. However, you can speed up render time by enabling hardware-acceleration in the settings of After-Effects. You can also increase the amount of RAM allocated to After-...


2

I believe that using pngs from the pdf is the best compromise between quality and speed. Your main concern being the render-time? If so, (I am sure you have, but just to be sure) have you checked if you're using Hardware-acceleration? You should also purge your cache frequently and have both the footage as well as your cache-directory as well as the project ...


2

They show you where the rest the unused part of your clip is relative to your timeline. So if you used the first 5 seconds of a 10 second clip in a 10 second comp, you would see a greyed-out bar form 5-10 seconds in your comp. You can drag the edges of your clip out to extend it in your timeline. To remove them you would need to change the duration of the ...


1

First, it doesn't sound like what you're doing in AE is actually making your podcast more interesting. It sounds like it's trivial to implement, but having multiple cameras (phones, laptops) for multiple people -- you said "we" -- and editing stuff out to keep the pacing going would be more effective overall. Sounds like you're providing a ...


1

Bodymovin works best for things like shape and text layers, that can be described by the SVG language. SVG is a bit like html, it contains instructions on how to render the content, rather than the actual images. For example if you wanted to draw a circle 256px wide, rather than create a raster image of a circle, and provide the colour info for each pixel in ...


1

You can do this by selecting every layer except the solid (your letterbox) and precomping it. Then, you can switch into your precomp and do as much zooming as you like. If you then render the composition with your precomp plus the solid layer on top, your solid will be unaffected by the keyframing going on inside the precomp.


1

That's a tricky one. Here's one dirty solution I want to propose: Apply a second keyer for the red hue of the gym-mat. Now shrink your alpha just like you did with the greenscreen. Then, you could stitch together a patch for the mat (effectively a clean-plate of the mat without the legs). Next, track your footage, put the gym-mat-patch behind her legs and ...


1

Try using the advanced spill suppressor preset technique instead. I’ve found it to work better but take longer to render:


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