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johnt53984649
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johnt53984649
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‎Jul 01, 2019
05:11 PM
This is helpful, but to make sure I'm understanding, let's take this scenario. Suppose I am working in a project using a bit depth of 16 bpc. Then I want to export using the MXF OP1a AVC-Intra Class 100 1080 59.94 fps codec. I know that the final video file is 10 bpc. However, the bit depth was chosen to be "millions of colors" because that's the only option that After Effects give me in the "Output Module Settings." Because "Millions of Colors" refers to 8 bits per channel, even though my project is in 16 bpc, and even though my codec of choice supports 10 bit per channel color, I assume that my video is actually only truly 8 bpc because I have "Millions of Colors" selected. Am I correct, or is my video truly 10 bpc?
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‎Jun 30, 2019
09:22 PM
I installed Quicktime 7.7.9 from here: Download QuickTime 7.7.9 for Windows and these are the only options that I get in Media Encoder CC 2019 (as well as Premiere Pro CC 2019): How did you get the MJPEG codecs to show up? Am I missing a step?
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‎Jun 30, 2019
08:21 PM
I am trying to understand how color depth works. So there are two things to consider: The bit depth of my project The bit depth of the codec I export with After Effects lets me select between 8, 16, and 32 bits per channel in the project settings: However, when I go to export, I get this nonsense: I don't understand what corresponds to what. How many bits per channel is each of these options? Essentially, I want this table filled in: Depth Bits Per Channel (BPC) 256 Colors Millions of Colors Millions of Colors+ Trillions of Colors Trillions of Colors+ Floating Point Floating Point+ I'm assuming that Millions of Colors is 8 bits per channel, but I'm not confident. I feel like it might be 10. Here's an example of what I mean: When I export using these settings: And then I import that exported MXF file into After Effects, I get this: So if I exported it with "Millions of Colors", why does it get imported as having "Trillions of Colors"? I just don't understand this.
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‎Jun 30, 2019
11:15 AM
Thank you, this is helpful. However, what exactly is the "kPProPrivateProjectMetadataURI" variable? It seems like it's a link to something. When I attempt to put that link in my web browser, it just gives me a "this site cannot be reached" error.
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‎Jun 29, 2019
05:21 PM
I have a directory with 281 MXF files in it, not all of which are the same duration. Is it possible to somehow create a text file that is essentially a table of the metadata of these files using Premiere Pro, or by scripting in Premiere? Essentially, I'm wanting some way to obtain the information displayed in list view: in a parsable, plain-text format. I am primarily interested in obtaining the "Meda Duration" column (with the associated filepath as the key), but it would be nice if I could get the other metadata as well. Is this possible with a Premiere Pro script, or within Premiere directly? If so, can you give an example of how to do it? Thanks!
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‎May 13, 2019
02:38 PM
That's what I feared. Thanks for confirming it.
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‎May 13, 2019
02:35 PM
2 Upvotes
Your solution works in CC 2019, but not in CC 2017 (it appears setInPoint() and setOutPoint() don't exist for a project item in CC 2017). Thanks.
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‎May 13, 2019
09:19 AM
Suppose that I have two clips right next to each other on a track, like this: Now suppose I want to use a Premiere Pro script to add a cross dissolve transition between those two clips (with a duration of exactly 10 frames), so that I end up with: How can I do this using ExtendScript? Is it possible? If so, can you provide an example?
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‎May 12, 2019
12:53 PM
Suppose I have a 2-minute long media file and an empty timeline for the currently active sequence. Now, suppose I want to write a Premiere Pro script that will put that media file at the beginning of the timeline, but it should start playing 45 seconds into the clip and end exactly 10 seconds later (at 55 seconds into the clip). It would be the equivalent of this: (In this image, we see that the footage is 2 minutes long, the first 45 seconds of the footage are trimmed off, and it only plays for 10 seconds). I would like to achieve this through scripting, but I'm not sure. I tried something of this order, but it did nothing more than simply put all 2 minutes of the clip into the sequence timeline: var file1 = "C:\\Path\\test.mxf" var backsBin = app.project.rootItem.createBin("Backs") app.project.importFiles([file1], false, backsBin); var thisTrack = app.project.activeSequence.videoTracks[0]; var projItem = backsBin.children[0]; thisTrack.insertClip(projItem, 0); // second arg is time in seconds to insert at thisTrack.clips[0].inPoint.seconds = 45 thisTrack.clips[0].outPoint.seconds = 55 What is wrong with my code, and what can be done to fix it? It seems like there's no way to set in and out points, as those last two lines don't seem to do anything. I am on Windows 10, PPro CC 2017.1.2 for reference.
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‎May 06, 2019
09:20 PM
Export two .ffx files with only a single parameter of interest changed. Then use a hex editor to compare the two and figure out which bytes changed. Metadata is included in the .ffx files, so ignore that. A good tip is that if the custom value involved a gradient of some kind, set that gradient to a weird color, and then search the .ffx file for that color's 8-bit hex value. That's how I figured out the format of the colorama .ffx file.
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‎May 05, 2019
02:42 PM
Thank you so much! That helps a lot, and I was able to easily figure out the format of the .ffx file (through trial and error and searching the .ffx file for hex values of unusual colors in the gradient in a hex editor). "Triangles" on the gradient wheel (I'll call them keys) start at 2C80 (hex address in the .ffx file) where each each key takes up 8 bytes (the next key is located immediately after the previous key) and is of the form: 0000XXXX AARRGGBB where XXXX is the hex value corresponding to the angle on the color wheel, and that hex value can be calculated with (pseudocode) decToHex(floor(Degrees * 2^16/360)) where Degrees must be between 0 and 360 and corresponds to the number of degrees going clockwise from the vertical (twelve o'clock). and RRGGBB is just the hex code of the color you want that key to have (example, RGB(248, 68, 7) would go in as f84407). The AA part is the alpha of that color (how much it blends the specified color with the original layer's pixel), where FF corresponds to 100% opacity and 00 corresponds to 0% opacity. The number of keys is a single byte specified at 2E83. Everything after the last key is just junk data up until 2E80 (allowing for an absolute maximum of 64 different keys). If you increase the number of keys (the byte at 2E83), AE will attempt to interpret that junk data as a new key. So if you want to add more keys, you can overwrite that junk data (8 bytes at a time) and then increase the number of keys. Here's an example Python script that modifies an existing .ffx file. [Python] BLUECOLOR = [0, 0, 255] REDCOLOR = [255, 0, 0] GREENCOLOR = [0, 255, 0] CYANC - Pastebin.com For reference, the huecycle.ffx this works on is exported immediately after colorama is applied to a new layer (so no keyframes or other modified parameters). Tested in AE CC 2014.0 only. The reason I did this is because I can't change the gradient colors and positions through .jsx scripting directly. So now I can easily write a script that changes those parameters in a preset .ffx file and then imports the modified .ffx, just as you suggested, so now I can create custom gradient wheels at run time!
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‎May 04, 2019
12:36 PM
Surely there's documentation on the compression algorithm Adobe is using somewhere!
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‎May 04, 2019
12:37 AM
Does anybody know what the levels in between correspond to? I have still been unable to locate this information.
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‎May 03, 2019
09:34 AM
The reason I would want to loop the phase is because I'm developing compositions of a fixed length that need to loop seamlessly with themselves (so the first and last frame need to be identical, with the last frame not rendered). Hence if I want direct control over how many times the wave occurs, animating the phase parameter is by far the easiest way to achieve that.
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‎May 02, 2019
04:28 PM
Once again, I'm not sure why that is, and I think that there are situations where you may have to add or subtract one degree after doing the multiplication, but that's just what I observed. If anybody can actually explain the mathematics behind it, I'd love to know.
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‎May 01, 2019
01:11 AM
You're right, I can animate the phase shift through scripting. The output cycle only needs to be set once per effect. However, I'm not exactly sure how you can "save a preset" as you mention. Would you please elaborate on how to do that? That would help me out a lot.
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‎Apr 29, 2019
10:47 PM
I'm really just using it as a special effect, but it usually involves rotating the input phase "Phase Shift" parameter to make it look like colors are "flowing" over the source. I primarily like it because I can rotate it an arbitrary number of times while still looking continuous. Here's an example of what I mean: I have no idea how to achieve an effect like this without Colorama. It would be great to find a scriptable alternative. (This was the source image)
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‎Apr 29, 2019
07:49 PM
That won't work for me since this needs to be entirely automated. Do you happen to know if there are other ways to achieve the same effect as Colorama? Or perhaps have custom presets that can automatically be loaded in any project file?
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‎Apr 28, 2019
11:19 PM
Observe the following code: mycomp = get_comp_by_name("BACK") var jj = mycomp.layers[1].property("Effects").addProperty("APC Colorama") jj.property("Blend With Original").setValue(50) jj.property("Use Preset Palette").setValue(6) jj.property("Output Cycle").setValue([6, 8, 10]) The first two properties are able to be modified successfully. However, no matter the argument I give to setValue of the last line (for "Output Cycle"), I always end up with the following error from After Effects: Is it possible individually manage every color used in the Output Cycle of Colorama (you are able to with the GUI, so I would hope you could with a script)? As I demonstrated in the line before, you can change which preset palette you select, but I'm not sure how to change individual colors on the Output Cycle wheel (how many, what color, at what rotation, alpha, etc.) Is it possible to have that level of control for Colorama with After Effects scripting? If not, what would you suggest as a scriptable alternative to achieve similar effects (mapping grays to different hues)?
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‎Apr 28, 2019
11:06 PM
Was this ever solved? I am running into a similar problem when trying to change the colors in the Colorama effect via scripting.
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‎Apr 28, 2019
10:24 PM
1 Upvote
Consider the problem of making a layer move along a perfectly circular path about the center of the composition. I found that this seems to be possible by manually choosing the value of the spatial tangents at points of the circle using scripting: var width = 1920 var height = 1080 mycomp = get_comp_by_name("BACK") var testlayer = mycomp.layers[1] var radius = 150 var x_offset = width/2 var y_offset = height/2 var magicRatio = 9/16 mycomp.layers[1].property("Position").setValueAtTime(framesToSeconds(0), [-radius + x_offset, 0 + y_offset]) mycomp.layers[1].property("Position").setValueAtTime(framesToSeconds(100), [0 + x_offset, radius + y_offset]) mycomp.layers[1].property("Position").setValueAtTime(framesToSeconds(200), [radius + x_offset, 0 + y_offset]) mycomp.layers[1].property("Position").setValueAtTime(framesToSeconds(300), [0 + x_offset, -radius + y_offset]) mycomp.layers[1].property("Position").setValueAtTime(framesToSeconds(400), [-radius + x_offset, 0 + y_offset]) mycomp.layers[1].property("Position").setSpatialTangentsAtKey(1, [0, -radius*magicRatio, 0], [0, radius*magicRatio, 0]) mycomp.layers[1].property("Position").setSpatialTangentsAtKey(2, [-radius*magicRatio, 0, 0], [radius*magicRatio, 0, 0]) mycomp.layers[1].property("Position").setSpatialTangentsAtKey(3, [0, radius*magicRatio, 0], [0, -radius*magicRatio, 0]) mycomp.layers[1].property("Position").setSpatialTangentsAtKey(4, [radius*magicRatio, 0, 0], [-radius*magicRatio, 0, 0]) mycomp.layers[1].property("Position").setSpatialTangentsAtKey(5, [0, -radius*magicRatio, 0], [0, radius*magicRatio, 0]) This will make the layer move in a perfect circle around the center of the composition with a radius of 150 pixels. We can see this as the result: But you'll notice I have this "magicRatio" of 9/16 defined in the code. I verified that it has nothing to do with the composition aspect ratio or the layer's aspect ratio; irrespective of those, a perfect circle is always produced. I only found that ratio by trial and error. So here's my question: why 9/16? How exactly does setSpatialTangentsAtKey() work?
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‎Apr 28, 2019
02:27 PM
I'm still not sure how that would work. I need to know the pixel values of all the layers underneath in order to perform the calculation. If there's no way to obtain that information, then I don't understand how an adjustment layer would help. I need both the pixel values of the source layer as well as the values of the composite of all the layers underneath in order to do the calculation.
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‎Apr 28, 2019
02:01 PM
That example helps a little, but I don't understand how I would go about getting the pixels of composite of the layers beneath the layer the effect is applied to. How would I do that?
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‎Apr 28, 2019
11:31 AM
I'm brand new to using the AE SDK, and it's quite intimidating coming from the scripting side. Let's say I want to create my own custom blend mode between layers. For the sake of simplicity, suppose a is the base layer and b is the blend layer (b is on top of a). For example, in After Effects, Overlay and Subtract should be implemented something like this: static overlay(a, b) { if (a < 0.5) { return 2 * a * b; } else { return 1 - 2 * (1 - a) * (1 - b); } } static subtract(a, b) { return max(a - b, 0.0) } (these functions are applied to each RGB channel value separately (with pixel channel values that are normalized to be between 0 and 1)) Suppose I want to implement my own custom blend function between two layers, one that After Effects does not provide, such as: static grain_merge(a, b) { return min(max(a + b - 0.5, 0.0), 1.0) } Is this possible with the SDK? I imagine it would have to be applied as a custom effect, and that's no problem; any way is fine as long as it works. I know that the base layer (a) would have to be the composite of all the pixels underneath the layer the effect is applied to, and (b) would have to be the source pixels of the layer that the effect is applied to. But I really don't know how I can actually make this happen. If this is possible, can you provide an example?
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‎Mar 28, 2019
09:59 AM
So then what's everything in between? (1-8)?
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‎Mar 27, 2019
06:50 PM
I noticed in the Photoshop Scripting guide, PNGSaveOptions has a member called "compression", which takes an integer between 0 and 9, inclusive. However, I am confused as to what this value corresponds to. In the GUI, when saving a PNG, the only options are these: I'm not sure how a value between 0 and 9 corresponds to "None/Fast" or "Smallest / Slow". Can somebody please explain what each of the 0-9 compression levels correspond to, or how they work? I would appreciate some background. Thanks.
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‎Jan 28, 2019
12:29 AM
I wrote a script that takes a video title from the user and will render it (Windows only), with the rendered file having that name. Observe the following code: var renderpath = containingfolder + "\\mxfs\\" + title; app.project.renderQueue.item(1).outputModule(1).file = File(renderpath); I realized that if the variable title has a period in it, for some reason, the renderQueue output name cuts off everything after the period and then appends the extension of whatever codec I'm using (mxf typically). Here's what I mean; if the user enters this: Then the "title" variable contains is "A Vs. B" (I have verified this through alert(title)), but yet... Everything after the period gets cut off! There must be something I'm not understanding, or perhaps this is a bug. Can somebody please explain why part of the title gets truncated? How can I fix this? I urge you to try this for yourself. Windows 10 build 14393 and After Effects CC 2014.0 for reference.
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‎Jan 27, 2019
09:20 PM
Although none of those solutions were quite what I was looking for, I did come up with a solution that works well enough for my purposes (the only caveat being that it assumes the original project was saved, which is okay in my situation). var orig = app.project.file aep_path = containingfolder + "\\aeps\\" + title; app.project.save(File(aep_path)); app.open(orig) // open up the original template after saving
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‎Jan 27, 2019
10:55 AM
Genius! I was unable to find this information anywhere, but it worked perfectly! Thank you so much. Just for extra clarification, here's what I tried in command prompt (CMD) on Windows and it worked: "C:\Program Files\Adobe\Adobe Media Encoder CC 2017\Adobe Media Encoder.exe" --console es.executeScript "D:\Projects\encode_all_mxfs.jsx" I'm just curious; how did you figure this out? I haven't been able to find this information anywhere online.
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‎Jan 26, 2019
03:19 PM
I was wondering if there way any way to save a project as a copy through ExtendScript. I know that a project can be saved in this manner: app.project.save(File(aep_path)); But this is not identical to saving a copy because then the project that's currently active in After Effects becomes whatever I just saved to, instead of staying at whatever it was previously. Is there any way to get the exact same effect of "save a copy" through After Effects scripting? Thanks. This is what I'm referring to; I want this functionality in scripting: Is this possible? If so, how? I see no references to it in any of the After Effects scripting guides.
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