[Aaron Neitz]

“Not retaining edits”?

If you have identical media drives that were cloned, and you DON’T use those drives to store renders, etc… it should be fairly clean.

Opening two projects and dragging the “new” edits into the “master” project should work great. Or you can possibly export and XML of an updated edit and import it into the “master” project. Do the working projects have unique names – so that they don’t get confused when you’re updating the “master”?

[Aaron Neitz]

Leopard is the one unknown for me: I’m on Tiger still. Did you get all the latest updates from Adboe? I know there was a 4 month gap when Leopard came out that After Effects was supposed to have “issues” with Leopard.

I’d also definitely cross post in the AE forum… plus I’ve got an issue as you’ll see:

Ok, I exported a 1080 ProResHQ clip from FCP 6.0.2. My “project settings” in AE (right click on the 8bpc switch) are:

Depth: 8 bits per channel
Working Space: none
All boxes UNCHECKED
Footage is also set to “none” colorspace

Now something crazy is happening to my renders. the FIRST TWO frames of the render are too bright (gamma shift) – but the rest of the clip is a perfect match to the original final cut media!

Then I did:

Depth: 16 bits
Working Space: 709
boxes unchecked
footage set to read as 709

Same problem: FIRST TWO frames bright, rest of render perfect.

Finally I used some DV50 footage with my original settings, and it rendered out perfect the whole way through.

I’m not sure what the First Two frames being bright means. I almost always do uncompressed 4:2:2 when working with HD and After Effects but seem to recall a discussion about this before. I’d simply solve the problem by adding two frame handles at the head… but it’s a bit concerning nevertheless.

I’m also on QT 7.3.0

let me know if anything comes of it!

[Aaron Neitz]

Rich has got it right. Check out those colorspace tabs…. Even though we’re all dealing with YUV to RGB and back again, the resulting renders should be virtually indistinguishable from the original footage.

When I get in the office tomorrow, I’ll look at my AE settings. I actually haven’t been bothering with the colorspace preferences working in standard def – AE’s initial settings have worked perfectly well. Are you on Leopard by chance?

[Aaron Neitz]

I’ve just done a bunch of work in AE with DV-50 and uncompressed codecs in SD and not a single pixel drifted in color or gamma! What’s up with ProRes??

check out this thread

https://forums.creativecow.net/thread/2/932015#932448

[Aaron Neitz]

… could be mistaken, but I’d assume FCP won’t support tiffs that have layers enabled. Tried flattening them? Or just use psd files if you need layers

[Aaron Neitz]

ProRes is just a codec. Works exactly the same as editing in DV, or Uncompressed, DVCPRO-HD, etc….

You options for laying off to tape are exactly the same as with any other format. Are you using a Kona or Blackmagic based system?

[Aaron Neitz]

DVCPRO-50. Very good looking compressed codec with 4:2:2 colorspace. Other than that you’d want to go into 720×486 uncompressed, but it doesn’t sound like that’s available.

[Aaron Neitz]

personally i’d just trash and restart. it won’t take long to get your settings back, and i think it’s good practice to run through the setup menus thoroughly from time to time.

or FCP rescue works too!

[Aaron Neitz]

Yeah, trying to avoid that… wiring up an analog deck is such a hassle 🙂 Why didn’t they ever make DVD players with SDI out?

[Aaron Neitz]

Do you have thumbnails and/or waveforms turned on? I’ve had this problem with many clips over a long timeline and zooming