Aaron Neitz
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After Effects Coin
Forum Replies Created
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uh huh. give ‘er a try.
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I’m 100% with Shane. LA is a bloodbath. Lots of shops closed or closing. Editors out of work. Budgets are taking a NOSEDRIVE in commercial editorial. Now there’s a ton of very talented artists milling around town chasing after very few jobs.
One thing I’m seeing: the single service houses are suffering most: ust offline edtorial, just finishing, just color correction. Diversity in your company’s services and talent is very important.
I’m personally very busy with several long form documentary projects. Seems there’s a lot of that type of thing going around lately.
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Open quicktime player. Under “File” you’ll see “import image sequence.” Select the 1st PNG, it will load them all up, then export to your editing codec
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[Eli Mavros] “Playing the devil’s advocate here, but say I had the film xfered to 30p, could the spot be finished progressively and then I throw it in a 29.97 HD timeline (upper fields first) and things would be cool?”
Sure: if you shoot 30fps in camera then your 29.97 post workflow is all progressive. We call it “30 for 30.” It was the fad in commercials for awhile.
But 905% of the time they shoot 24 for creative reasons.
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ProRes is great and all… but if you’re doing a “lot” of compositing you really ought to consider uncompressed HD.
Gluetools makes a Phantom transcoder tool for Mac.
Not knowing your exact situation or project: Get everything in 1080/23.98. Work that way the whole way through. Then at the very end you can add 3:2 pulldown to your final piece and it becomes 1080/59.94 (you’re right: the same as NTSC 29.97, but referring to fields per second instead of frames)
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With the slider under the viewer window you can get 2 speeds of slow motion and then you get realtime. K+L gives you the slowest speed, but not the middle speed.
It’s not a biggie, I just prefer the middle speed for checking sync when things are questionable. This is music sync: drums and guitars. Gotta be spot on.
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Best thing to do is invent something you’re happy with. I detest most of the compressor presets:
export 1 minute of footage. Take it into QT player and Export it. Play around with size, bitrate and audio codec until you get something that looks good and has the proper file size. (so about 20-25MB so that an hour will be 200-250)
Then duplicate those settings in a new Compressor droplet. Plus you’ll probably want to add a de-interlace (with better quality)? Nothing worse than scanlines in a posting.
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Did some research
After Effects CS3+ will read super-whites (and I assume super-black) in certain codecs. HDV, DVCPROHD, and 8/10bit uncompressed. (not prores, DV, DV50)
But you must be working in 32bit (float) color depth.
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correct, 59.94 is the only approved broadcast format for 720.
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Drop your final 1080 file into a 720p timeline in FCP. Render. Done.
what happens with 24fps in a 60fps world is simply frame duplication. Luckily 60fps rolls by fast enough that you don’t perceive any chatter (much like 3:2 does for NTSC)