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Using film footage in 29.97 composition
I have a clip of footage that was shot on film and then transferred to 29.97. It’s the only shot in a short movie that was shot on film. Rest of the project was shot in 29.97.
I digitized and brought the clip into After Effects to add some titling to it. When I exported and brought it back into my NLE, my titles have ‘smooth’ motion while the background video (the film shot footage) has the ‘filmic’ motion to it. What steps should I do to make my titles have ‘filmic’ motion?
Also, when I brought the clip back into my NLE, I noticed the color levels are different. The imported clip seems a bit brighter. Why is this? How do I make the exported After Effects clip have proper color levels, or what type of color correction should I do on the imported clip?
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2 Replies
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you’re film shoot was most likeliy shot at 24 frames per second, then made 30 fps interlaced with a pulldown. to work with the film footage you should remove the pulldown and work in a 24fps timeline and then put the pulldown back when you render.
in ae, select the footage in the project window and choose file>interpret footage>main… in this window check the interlace settings, you want the interlacing set to the right field dominance and the pulldown set to the right pulldown (guess usually works well, but you can make note of the order of whole and interlaced frames of the first 5 frames of your footage and set it manually if needed). i think you may also need to make sure that the footage frame rate is set to 23.98.
now you can work in a 23.98 fps comp and should be able to render back out to 29.97 with the proper field dominance and you footage and graphics should look better together.
sorry about the ‘i thinks’ but i don’t have ae with me right now to double check this workflow.
as far as the color shift, this is the yuv-rgb-yuv problem… your nle is yuv color space, ae is rgb. if your footage was exported out of your nle with a conversion to rgb, then try to import your render back into the nle converting it from rgb to yuv. that’s usually the best solution. if you want to stay in ae, you could, instead, throw an adjustment layer over the top of your comp with levels set to black output: 16, white output: 235. but if your footage had not been converted to rgb then you will also need to check the 601 color check box at the bottom of the interpret footage window i talked about earlier.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
thanks a bunch for the info kevin! especially for explaning the YUV->RGB process.
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