Andrew Yoole
Forum Replies Created
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Your best method for creating good quality slow-mo is to use a tool built for the job, rather than screwing with the footage before you slow-mo it. AE 7 includes Timewarp, otherwise a third party option is Re:Vision Fx’s Twixtor.
https://www.revisionfx.com/rstwixtor.htm
Both these tools track motion vectors in footage to intelligently build new frames in between existing ones. So long as your footage is interpreted correctly, there is no benefit to deinterlacing the footage.
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Your description of PP is spot on – frankly, it’s a dog. Particular is fantastic – incredibly powerful, easy to use, and with the added advantage of working in 3D with AE cameras. I can’t recommend it highly enough.
Also, don’t forget that AE 6.5’s Cycore Effects include Particle World (and a few other particle plugins as well) – certainly not as good as particular, but very simple to use and quite effective in many ways, plus heaps cheaper if you already have them.
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You’re approaching this all wrong. As stated in an earlier post, what’s important is the playback medium, not the end device. Any NTSC or PAL device (like a DVD player, a standard def tape machine etc) will use standard NTSC or PAL rectangular pixels. Any direct-from-computer playback uses square pixels. If you are feeding a CRT TV or an LCD TV with an NTSC signal, the results are the same – the monitor is accepting a standard NTSC signal. If you are feeding a VGA signal directly to an LCD TV, the TV will expect the VGA signal to have square pixels.
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It’s even easier in PAL. Make sure your imported footage in AE is interpreted as D1/DV PAL Widescreen. Make sure your comps have the same preset setting. Create your own output module that uses 8 bit uncompressed and render. Check the Anamorphic switch in FCP after import.
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Just to clarify, when applying a Transfer mode to the PP layer, the particles blend with the layers below, but not with each other. For more advanced blending options of particles, download the demo of Trapcode Particular and give it a go.
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All computer display systems work in square pixels. So for example, if your LCD has a native resolution of 1024×768, create the content at 1024×768 square pixels, and be sure the computer feeding the VGA signal is also set to that resolution. You’ll need some form of hefty compression to play back video at this resolution however. If you have drive speed playback issues, you may be better off working at a lower resolution and using software (the video playback software) to blow the picture up to the full-screen display resolution.
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You’re correct. If your footage is progressive then you should interpret as full frames.
Then it’s up to you whether you render out interlaced or not. Chances are you want the entire production to look non-interlaced, in which case turn off field rendering in your Render Settings. Rendering fields with non-interlaced source material can sometimes create unexpected problems anyway. Just remember that fast moving objects can “jitter” when non-interlaced.
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[Joshua Lim] “my movie file settings are: 720X576 non-square (1.46:1), separating(lower) 25fps DV-PAL
the composition settings are 720X576 D1/DV PAL widescreen(1.42)”
There’s your problem. Interpret your footage files as D1/DV PAL. If the footage is widescreen 16:9, then interpret as D1/DV PAL Widescreen. Make sure your comp settings are also correct – widescreen or not.
You should interpret all DV footage as lower field first, and render back to lower field first if you are rendering to DV.
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So long as you have a means of capturing the tapes to disk (meaning, you have a deck capable of multiple playback standards) then you can convert the PAL to NTSC or vice versa in AE, or using third party NLE plugins like Nattress Standards Converter.
If the job has any kind of budget, I’d take the PAL tape to a reputable dub house and have it standards-converted professionally.