Aaron Neitz
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After Effects Coin
Forum Replies Created
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So are they planning on intercutting footage with BOTH these cameras? or is the NTSC solely for audio?
(in which case why not buy a freaking audio DVR and use sticks to sync audio? but we digress)
And is this PAL camera going to yield 24.0 media?
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I’ve confirmed NTSC is fine. Just like always. Using same 8 bit codec, but now in 601 working space.
pulls hair. Throws chair. 🙂
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New Test. Try this out yourself!
I have a 1080/8bit Uncompressed QT of 75% bars.
I import into FCP. Put into 8 bit uncompressed 1080 sequence. Bars check out against scopes.
I import into AE. Put in timeline. Bars check against Color Finesse scopes. Working space in AE = 709. Assigned profile on QT comes up as 709. output module is rendering with 709. Color Finesse scopes set to 709.
Render 8 bit 1080 QT from AE. Import into FCP. COLORS and GAMMA SHIFT.
Bring that rendered file back into AE, check against orignal bars, it IS PERFECT.
So it seems that Final Cut is completely mi-interpreting these quicktimes rendered by AE?
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Well crap. I’ve been using AE a lot lately, but all in uncompressed codecs, and it’s been a solid performer. I’m surprised I haven’t turned up more people having problems on the Cow. It’s a massive shift that’s unacceptable.
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Yes. 709 the whole way.
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nope, sRGB colorspace still has problems. And no QT Conversion. Self-contained files from FCP. Are you using the same versions of software as me Borjis?
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What’s happening, I assume, is that you’re editing with RT effects, and when it renders the photos you’re not getting what you want.
So what are your render settings for the timeline? Force render your timeline so you can see in Final Cut what it’s doing.
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FCP-> AV Settings > switch to AJA Kona/720p/59.94. That should take care of it.