Add a sound effect: the effect fades in, is audible at full volume shortly before it abruptly ends exactly when the freeze frame appears. The sound effect should be distinguishable from background sounds and overall be crisp and short (like 0.5-2 seconds). That way, the audience is given a clear indicator that the freeze frame is intentional. An alternative ...
Your workflow is wrong. You just don't normalize audio with After Effects. Instead either do it with an audio editor, like Audition (which seems suitable to match clips in timeline, just use the normalize effect and maybe a compressor if the dynamic is too great). Finally apply loudness normalization with your video editor. For example during export with ...
I would try using a displacement map. You can use a solid with turbulent noise on it and use it as your map, then animate the evolution, contrast and brightness so it displaces the film accordingly. If your burn is a separate layer, you can also use this as the matte for the solid with turbulent-noise in it with the effect "set matte".
Also, you might want ...
Select all of the layers. Move the time cursor to where you want the layers duration to end. Press alt + ]. This will extend your layer to that position (if it is able to be extended).
Pressing alt + [ would adjust the in point
Pressing Press [ or ] on their own would move the in or out point of the layer to your current time position.
DaVinci Resolve has a built-in scene detect tool that lets you cull cuts based on a specified threshold. It also lets you jump from one detected cut to the next to verify the autodetect accuracy and accept or reject accordingly, showing you frames on either side of the cut. There's a free version of Resolve which should support this feature, so you've got ...
You might want to try Algorithmia's Scene Detection. It detects timestamps where the algorithm assumes there is a cut. Then you just have to count the number of timestamps to get your result. You need to setup a Python environment for that and have some basic programming skills. I haven't tried it, so I cannot say how well it works.
Pretty much all ...
I think you could achieve this just by key-framing the Source Text control in your text layer.
Unless you have hundreds of them and need to do it programatically, I would just keyframe the changes of text, and the repositioning would happen automatically.
If I have misunderstood what you mean, please add some screen shots to explain what you need.
According to Adobe:
Workspaces are stored in XML files in the preferences folder. With some caveats regarding monitor size and layout, these workspaces can be moved to another computer and used there.
You can do what @stib said. Use the B and N shortcuts to set the beginning and end of the work area to match your footage. Another good shortcut is Shift and X to cut the timeline to the current work area.
@sinGood that looks like a motion blur to me. Do you have motion blur enabled? That is one cause of this and I noticed that the composition resolution is in quarter so that could also be another culprit.
@tomh shape layers have the collapse transformation already enabled automatically and it can't be disabled, only for shape layers. the collapse transformation option will work to improve quality of elements if it's a precomp or a non shape layer.
Resolve and Premiere both support .srt files for subtitles, which is what you want instead of "Excel files or whatever." There are many online services that will generate .srt files from spoken audio, and timestamp them appropriately so that they sync with your video.
Templater Rig can help with this. It's a plugin that connects the text in your After Effects project to a Google Sheet or other spreadsheet. Bear in mind that each language will have different read rates and sentence lengths for the same meaning on-screen, so swapping the translations is only the first step to making the videos look ok.
It's called a slip-edit (see Adobe's explanation here).
If you have the Pan-Behind tool selected, when you see this icon over a clip, it means you can drag the clip left or right in time, and the start and end points of the clip will change, but the position and duration in your timeline will stay in the same place. It's just like doing a slip edit in ...
One option without using any 3rd party plugins is to track the motion of the object you want to leave a trail, apply that motion to a shape layer, then apply an echo effect to it. Additional effects like glow, and motion blur (all native effects), and playing with transfer modes and opacity will help sell it.
Shape layers don't have the ability to use a bitmapped fill. What you need to do is use the shape layer as a matte for the fill pattern.
To make a repeating pattern from your image, bring it into the comp as an image layer. Now apply the CC RepeTile effect (it's an included effect with AE in the Stylize folder).
Increase the numbers in the expand right, ...
A friend of mine had the same problem and the only thing that resolved it for him was using lossless for the output module render settings. Then after the render, to get the AVI file size down, he used a third party program to apply some lossy compression to it.
That script uses the variable shrink, which paradoxically increases with time. Just make it decrease with time, e.g. by replacing the first line with these two:
var endTime = 123; //how long you want it to take, in seconds
shrink = endTime - time;
Or make the radius the product of the time and a constant, rather than dividing the radius by time, by ...
It's harder to do than it should be, I guess because AE is layer-based rather than node-based like Fusion etc.
You're going to have to make a copy of both of your layers, parent each copy to the original layer – so you only have to move one of each – and arrange them so that your layer stack looks like
(or vice versa). Now make the ...
You can search "After Effects morphing" and you will find some tutorials which you will help to recreate intro like in this video. It's not a standart (by default) effect in After Effects. It's an animation created from scratch, probably in After Effects. It's a Shape Animation, shape morphing, mask morphing, liquid animation.
It's all about the little sun icon on each layer, called "Collapse Transformations":
It chooses whether to display the image as a vector (sharp) or as a bitmap (possibly blurry depending on the resolution of the layer). There's lots online about it - here's one example:
I actually was able to find the answer to my question in point 2. here
Simple add the sequence to the After Effects Render Queue:
And from there open it in AME, where the preview will work perfectly fine.
The first step if you ever suspect After Effects might have buggy behavior is to purge the Memory / Disk Cache (Edit > Purge > All Memory & Disk Cache).
You mention you already tried this, and that it cleaned it up at first, but then later on the buggy frames returned. In that case, you could consider temporarily disabling the disk cache completely:
After Effects is definitely the right tool to use rather than Vegas for motion tracking / drawing on moving footage. Here is a classic tutorial that you can watch to get a sense for how to achieve face tracking & replacement.
Vegas is much better suited for editing. After Effects can often struggle to achieve real-time playback over extended periods of ...
You can add a new adjustment layer at the top of your composition, with the Levels effect set to the following:
Input Black: 254
Input White: 255
This will have the result of causing any luma values that were below 254 to become black, while anything above it becomes white. Here is an example of it over a fractal noise pattern:
This is absolutely possible to create in After Effects. Without you asking a specific question it's difficult to give a specific answer here, but broadly speaking:
Scan Lines in principal are very easy, they're just alternating black and white lines, set to a blending mode like Overlay and their opacity reduced
A Vertical Reveal is most simply achieved ...
This is After Effect's automatic behavior any time it encounters more than one file with sequentially-numbered filenames. It's trying to import them all as entire file sequence. This effectively imports every file, but presents them all as one single animated footage item, with each file representing one frame.
The solution is that in the "Import File" ...
I do not fully understand what you are asking, but if it is what I think you want there are two options.
1. Gren screen, so you can have your objects with a really fast way to mask them, and then having any manipulation you want.
2. Rotoscoping them, if it is from an already filmed video and no green screen can be made during filming.
Here is an example ...
I don’t think there’s a way to get zebras on your output, but the Lumetri Scopes will give you a video signal that will show you whether your luma is too high.