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Ae to Fcp to Digibeta workflow, to get clean digi beta prints
HI,
Does anyone has a good working workflow for motion design pieces utilizing animated highdef pictures (products with lots of details, condensed lines, and similar). I work on macpro, I use kona 3 card.
I usually import stills from photoshop, vector graphics from illustrator, I animate everything in after effects, export my ae comp as 10bit unvompressed or loseless animation or apple prores hq, but dont get satisfying results because I have been noticing moire in high def areas when printing on digibeta. I use kona 3 card, sdi output. I have done a couple of tests and I realized that the biggest problem occur when I import the already rendered quicktime movies into fcp. This is the tricky part because this is the part where the problem occurs. Quciktime movies look beautiful when played on the computer but as soon as I lay them on the digi beta, moire in high condensed areas appear. How to avoid that. Does anyone have a suggestion.
Here is a short test I have done concerning the workflow.
I have done some additional tests and realized a couple of things. The problem with flickering and moire in high definition areas of the stills occur when importing my ae rendered quicktime movies into my final cut pro studio equiped with a kona 3 card. I have tested a couple of different exporting options.
1, exporting ae comp (it is set to dvpal) using animation codec, loseless, best settings. I get a beautiful looking quicktime mov file that plays fluidly in quicktime player, and doesnt suffer from moire in high def areas. However no matter what i do in fcp I can get to play this animation rendered file in fcp…only when I go in sequence settings and change the compressor settings to uncompressed I get a clip that I can print to digi beta however as soon as I do that change in the sequence settings I get moire in high definition areas of the stills. The fine thing when exporting using animation, loseless settings is the fact that there is no visible gamma shift when importing the clip into fcp or playing the quicktime movie.
2. 2nd test. I have exported my ae comp also as uncompressed 10bit seq, layed in fcp timeline, I have set the fcp sequence to 10bit yuv to get the most out of it, however I still get slight moire in line condensed areas. The gamma shift between my ae comp and the rendered quicktime mov played in quicktime player is obvious.
3. 3rd test. Export as apple pro res hq however, bud didnt get the results needed. Gamma has shifted drastically comparing to what I had on ae comp, and moire was quite visible in line high density areas.
So anyone any ideas. Any good workflow solution.
Best regards
Drazen
drazen
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3 Replies
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What field order is your render out of AE?
What field order does the clip say in FCP after you import it?
What field order is your timeline?
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Hi man,
good hints…I will be checking at those settings that you have mentioned tomorrow morning when I get back to my studio and will let you know…thanks a bunch for your creative advise…no wonder this forum is called creative cow…
best regards
Drazen
drazen
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[drazen stader] “(products with lots of details, condensed lines, and similar)”
This is your problem. Any fine detail that’s only 1 or 2 pixels will create moire. You may need to soften this detail by a very slight blurring- only 0.5%-2% will fix it in most situations.
If you’re using a Kona and winding up on digiBeta, you should be previewing your work out of AE to a video monitor while you work. That way you’ll catch these problems before you render out of AE.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/
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