Aaron Neitz
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After Effects Coin
Forum Replies Created
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Thanks, I solved the problem. I had a custom LUT apparently loaded in the Kona control panel… duh
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for some reason “enable custom luts” was on in the Control Panel.
duh.
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Wow, Bob (or GlueTools) found and is fixing the problem. That’s great. Customer support means a lot…. especially to us users used to the Stone Wall that is Apple.
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Check your ProTools frame rate. I just mentioned the other day that many ProTools setups assume 23.976 is really 24.0 so you’re resulting export will drift.
It you’re really in 29.97, then make sure ProTools is in 29.97
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Sorry Gary, I’m a little confused: You Import the 2K DPX into Compressor, export out 720 DPX with the Gluetools interface, and use those file sequence for editing?
What’s bumming me out, say I REALLY need ProRes from my DPX: I’m finding that if I try and crop my 2K to 1080 in Compressor… Compressor starts freezing frames halfway through and garbling things up.
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Thanks Gary, but that still requires your system to read and translate the DPX on the fly, correct? Which means fast storage.
It’s a high stress edit, giving him ProRes files would mean less room for technical hiccups.
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technically DV50 is an interlaced codec: designed to be read upper field first and then lower (or the other way around, I forget).
BUT if you were to render DV50/24fps from after effects, that Quicktime for *all intents and purposes* is progressive. you can edit with it in a 24fps FCP timeline (set your field dominance to None) and export it self-contained and it’s stays progressive. Your web compressed Flash movie will be progressive too – no interlace issues that need to be removed.
I don’t think there’s a camera that can do 24fps DV50 without some tricks and fakery – post processing to remove interlaced frames and all that.
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Keep in mind many audio suites still don’t recognize 23.98 as a valid format…. they have 29.97 for video and 24.0 for film. This has happened to me when I’ve been working in 1080/23.98 and they read my OMF as 24.0. This obviously causes havoc.
23.98 and 29.97 are analogs of one another as far as audio is concerned. There isn’t “pulldown” added to the audio if you intermingle these two frame rates. Sometimes I found it easier to give the mix house a Digibeta with 3:2 pulldown and tell them the OMF is 29.97. Presto you get a perfectly in sync mix for your 1080 master.
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there’s a stereo track and a mono track.
when you change the dB value of the mono track, it changes the value of the stereo track. They’re not linked or related in any way.
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I wouldn’t hesitate for a second using ProResHQ for a delivery codec when Uncompressed isn’t a viable solution vs. time/money.
FYI laying back to HDCAM or D5 will actually harm your ProResHQ more than a file delivery: it’s a better codec than those formats. Not HDCAM-SR however.