[Adhish Yajnik]

Thanks, Dave.

Unfortunately, the XDCam edit settings are mandated by my university, so there is no way for me to change them. So discussing better codecs, higher bitrates, and converting footage prior to edit is a moot point.

Additionally, I used the term “export” as shorthand for using AE’s render queue. As I have about 7 years of experience in AE, I know that the Render Queue is far superior to a simple export. Sorry for the misunderstanding.

So the question stands: what codec and color space–and possibly container–should I export (using AE’s render queue) from AE to seamlessly integrate my effects footage back into an Avid timeline with XDCam EX 35 Mb/s 1080p24 HD 601-709 (16-235) settings?

~ Adhish

[Adhish Yajnik]

Thanks! That’s a much more efficient way of assigning expressions to each point. Is there a way to import a spreadsheet and assign the spreadsheet values to the sliders for the Y position so that I wouldn’t have to enter in 19 values manually each time?

~ Adhish

[Adhish Yajnik]

I guess I assumed it would be complicated that I didn’t try the simplest technique, which you pointed out. Thanks, this works perfectly!

~ Adhish

[Adhish Yajnik]

After trying a bunch of things, I’m just exporting PAL-compliant AVIs and transcoding those in Encore with its automatic settings.

But I actually opened up a new Encore file for the PAL DVD, and I did select the PAL preset when creating that new project file.

My basic workflow in Premiere was to drop an NTSC video onto the timeline (in a PAL-compliant Premiere project), and use Adobe Media Encoder with the MPEG-2 preset and PAL video at 25fps progressive, and I would just change the bitrate for each video separately.

As for Atlantis, how noticeable is the 4% rate change? I don’t want my videos to seem like they’re going too slow or too fast or anything weird like that.

~ Adhish

[Adhish Yajnik]

Thanks, Jeff. It makes me wonder if Premiere or Encore’s pulldown is somehow substandard then, because on any normal standard-definition commercial DVD for a real film like Jaws or Star Wars or something, the pulldown works fine and I can detect no pulldown, but with the DVDs that I’m making, I can still see the pulldown on a pretty new DVD player. Any ideas as to why that might be happening?

~ Adhish

[Adhish Yajnik]

There is an option in Premiere where you can tell it to do a 3:2 pulldown.

Unfortunately, it interlaces the footage really strangely and doesn’t get rid of the 3:2 stutter. I’m also not sure my DVD player has 3:2 Pulldown removal, so is there any way to get a 24p full frame video onto a DVD?

~ Adhish

[Adhish Yajnik]

Thanks, Emmett! That’s exactly what I was looking for, it worked like a charm and certainly saved me a lot of work!

~ Adhish

[Adhish Yajnik]

Thanks for the prompt reply. I would have been waiting for the pot of gold at the end of the rainbow for awhile, haha. Guess I better get to work then!

~ Adhish

[Adhish Yajnik]

Yeah… I don’t have After Effects 7 Pro, just After Effects 7.

Which means I don’t have motion tracking.

Thanks for your help though. I have other software capable of motion tracking, so now I know what I have to do as far as linking things to the motion of specific track points.

~ Adhish

[Adhish Yajnik]

Oh, I didn’t know it was only in professional… hmmm.

Are there any tracking programs that can export data as xy points to AE?

I’m trying to stabilize a shaky camera move, and I was planning on assigning the tracking data to a camera and then smoothing it on the graph.

Thanks for the help, though.

~Adhish