Aaron Neitz
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After Effects Coin
Forum Replies Created
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What are you doing to the footage that requires render? Can you replicate the process using SMTP bars? What are your render settings (all YUV render w/ high precision?)
I know that if I have footage and do a 3 Way CC – when I render it always shifts a little from what the RT engine pumped out.
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The slightest change in the audio stream will corrupt it. So if you’re HDCAM wasn’t at unity and added +1 DB to audio tracks – I think that’ll ruin it. So just give the final master tape to the audio house for final layoff. good luck
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Dolby E is an encoding method that gives you a 2 channel PCM stream which contains 6 or 8 channels of audio (16 or 20 bit depth). If you tried to listen to it, there’d be nothing… your AES to analog decoder would be stimied – you’d have to buy a purpose built Dolby E to analog decoder.
You can transport this stream over AES or SDI as long as it remains BIT for BIT accurate. So, in theory, if you digitized a Dolby E track over SDI, you could lay it off to another tape.
BUT: we never do this in our studio. We finish everything on D5 with 8 channels of regular audio and let Dolby labs or the network or the mix house deal withe the encoding. so really all my knowledge is academic and not hands on. I can’t guarantee FCP or the Kona won’t swap some bit information or do some sample rate conversion to the Dolby PCM stream. Good question for Aja tech support!
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A real Dolby 5.1 file is an encoded stream that contains all 6 channels (typically a Dolby E mix will get laid down to channels 3/4 on an HDCAM… and it contains all the metadata and the audio data for the 6 channels therein).
If you send 6 channels straight to deck from AIFF’s, that’s all they are – 6 discreet channels without the Dolby matering, metadata, and encoding.
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It sounds like you’re Dropping Frames. Do you have your User Pref set to ‘report dropped frames on playback’? otherwise it’ll keep plowing ahead and try to catch the video up with the audio
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I don’t think you get ANY realtime effects using a RGB codec. you need to be in YUV to get that.
Take your tiff into AE. Put into a composistion. Comp settings need to be set to D1 (720×486 with .9 pixel aspect ratio). Make Movie as 29.97 fps Apple Uncompressed 10 Bit. Make sure FCP has the timeline settings for Uncompressed 10 bit NTSC. It should work just fine. I think you’re missing something along the way – triple check all the settings.
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Hm…. sounds like some Photoshop things for ad agency people who don’t know the standard film/video effects software.
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Make subclips – then use the anamorphic checkbox on the 16:9 ones
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Good question: are they in sync in QT player? Were they synced dailies on the HDCAM? How long are your captured clips?
When I do HD finishing with 8 channels of audio (5.1 + stereo) I have to keep all the aiff’s on an internal SATA and have video only on the XRAID – otherwise the sync gets drifty. But with DV-HD the data rates aren’t that high at all.
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Can’t say about Boris – but if I were doing a credit roll in After Effects for 60i, I would make sure I field rendered it, not frame rendered.
the problem with “your monitor” in FCP is that you’re only seeing 1 field – it’s a progressive display – so anything going to a interlaced monitor is going to look and behave differently.
Truth is, rolling credits are always tough. 60i, 24p, 25p…. Pick a hearty font without fine serifs and don’t let it scroll too fast.