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AE CS4 and P2 – best options to get them to play nice…?
Medium-time reader; first time questioneer….
I’ve recently upgraded to CS4 from AE7, and have noticed that there is a handy new preset for DVCProHD 720 23.976 in the composition settings window. Trouble is, the comp comes up as a technically-accurate 960×720 comp with a par of 1.33. Obviously, for any VFX work, this isn’t an ideal working space.
I’ve dealt with this issue in the previous version of AE by any number of noodlings with comp par, footage par, and setting my comp size to 1280×720. And, generally speaking, I tend to use the raw QT files pulled from the HVX-200 rather than exporting from FCP. (I’ve found that when exporting DVCProHD footage from FCP to use in AE, there’s an image quality hit, regardless of whether I use ‘export’ or ‘export using quicktime conversion.’)
So, my workflow has been:
Import QT file (from camera ‘raw’ footage on HD) into AE.
Setup a custom 1280×720 comp at 23.978 (square pix).
Bring QT footage into comp, (either adjusting via ‘interpret footage’ or simply doing a x-scale to fit.)
Apply VFX.
Render footage using a custom output module that stretches the footage back to 960×720.
Import VFX shot into FCP, and continue editing.My results have always been fine visually, but I’m trying to figure out a better workflow option. My hope in seeing the updated Comp Setting preset in CS4 would make this process a bit quicker and smoother, but the fact that the preset sets up a comp that is more or less unworkable visually is frustrating.
Anybody have any suggestions for a better workflow? (Other than simply exporting a ProRes422 or Animation encoded QT out of FCP).
Mac Pro 2×2.8 QuadCore; 6GB RAM; FCStudio2; Adobe Creative Suite 4 Production Premium
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4 Replies
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[Padraic Culham] “I tend to use the raw QT files pulled from the HVX-200 rather than exporting from FCP”
do you mean you pull the raw mxf files from the hvx? the hvx i’ve worked with doesn’t record .mov, curious if that’s changed… but if you are pulling the .mxf files in to ae directly, that should be the best way. another way would be to import the .mxf into fcp, but pull the transcoded .mov file directly from the capture scratch folder into ae… saves time, disk space and one less compression pass.
[Padraic Culham] “Setup a custom 1280×720 comp at 23.978 (square pix).”
as far as the comp setting… the preset uses the frame size and par for dvcprohd (although not the typical 59.94 fps for 720p for some reason), but there is no reason you can’t change the frame size to 1280×720 and the par to square to work with in ae. you can also save that as a preset by clicking the button that looks like a page turning to the right of the preset dropdown. then you can easily call it up when you need it.
[Padraic Culham] “Bring QT footage into comp, (either adjusting via ‘interpret footage’ or simply doing a x-scale to fit.)”
ae should handle the par correction (‘stretching’) of the 1.33 par dvcprohd footage in the square pixel comp automatically, without needing to reinterpret the footage or scale the footage in the new comp size…
other than that i think your workflow seems fine.
Kevin Camp
Senior Designer
KCPQ, KMYQ & KRCW -
“do you mean you pull the raw mxf files from the hvx?”
Apologies – bad writing on my part. I import/capture the footage via FCP (import P2 data/log and transfer). Thus, no – I don’t use the .mxf, I’m using the QT .mov’s as imported. When I was using the term ‘raw,’ I was trying to say that I was using the .mov directly as captured (with the native character string like 00172C.mov) as opposed to a clip that I’d edited/trimmed and exported from FCP.
“the preset uses the frame size and par for dvcprohd”
True, but the preset is following the TECHNICAL specs of dvcprohd to the letter-of-the-law, which means the aspect ratio is 4×3 squeezed, as opposed to a 16×9 workspace (whereas FCP does the math internally and displays the footage in 16×9). I have been changing my comp settings to 1280×720 for working, but being an impatient goober, I grumble at the extra step.
“ae should handle the par correction (‘stretching’) of the 1.33 par dvcprohd footage in the square pixel comp automatically”
Also true, but that requires making another adjustment to the preset (square pixels, as opposed to the preset-native 1.33 par). Again, another step that goes against my nature of being an impatient goober (see above).
All in all, I was hoping there was something I was missing as far as working with dvdprohd footage in AE. As it is, I’m a little grumpy with Adobe for having a preset that is essentially unworkable in its native form. I’m not about to start an angry-letter campaign, but it’s a bit exasperating that their preset, while technically accurate, needs some noodling in order to be useful.
Typical modern American, I suppose, wanting everything to be done for me, as opposed to simply burning the calories to set up my own presets, stop grousing, and get to work.
Thanks!
Mac Pro 2×2.8 QuadCore; 6GB RAM; FCStudio2; Adobe Creative Suite 4 Production Premium
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[Padraic Culham] “the preset is following the TECHNICAL specs of dvcprohd to the letter-of-the-law, which means the aspect ratio is 4×3 squeezed, as opposed to a 16×9 workspace (whereas FCP does the math internally and displays the footage in 16×9).”
ae will handle that too, you just need to toggle the par correction button in the preview window (little button towards the bottom-right that looks like a rectangle with a double arrow above it).
if you have cs3 or better and don’t appreciate ae’s ugly, choppy par correction, you can hack the preferences file to enable high quality par correction… or download and install throttle 1.2, a little gui script for ae, that allows you to set the par correction quality (among other things) within a panel in ae, rather than having to hack the preference file with a text editor…
Kevin Camp
Senior Designer
KCPQ, KMYQ & KRCW -
“toggle the par correction button”
Par correction button – brilliant. 13 years of working with AE, and I never knew there was a par correction button. {head smack}
Mea Culpa. I retract my grumblings at Adobe. And thanks for the assist!
Mac Pro 2×2.8 QuadCore; 6GB RAM; FCStudio2; Adobe Creative Suite 4 Production Premium
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