[Andrew Yoole]

Since you’ve already made your PSDs at 1024×576, leave them like that – it’s fine! I leave most of my PSDs in sq pix as well, because you’re effectively retaining full horizontal resolution until later on in the workflow.

Import them to AE. Now choose your one of the following options:

A) Immediately convert the new comps to 720×576 Widescreen.
Advantage: You are now working at the native output res, which is convenient.
Advantage: You’ve reduced the number of pixels AE needs to process, meaning slightly faster render times.
Disadvantage: Some of the layers within your comp may end up in odd positions when you do the conversion, and you’ll need to manually repo them.
Disadvantage: You’re stuck looking at good quality images in anamorphic mode (which are horizontally squished), or at AE’s low quality PAR preview (without the squish)

or

B) Leave everything as square pix 1024×576 during the design & animation stage. When complete, put the finished comp into a new 720×576 widescreen comp and render.
Advantage: Previews are the correct aspect, full quality, not squished
Advantage: You are preserving full horizontal resolution until later in the workflow, meaning (very slightly) better quality output
Disadvantage: More pixels for AE to process means slightly longer render times
Disadvantage: An extra step at the end is a slight inconvenience

We could debate the merits and relevance of 1050×576 v 1024×576 pix all night. (The 1050 value relates to nominal analogue blanking, so is not strictly relevant since you are using no analogue-sourced footage in your comp). I strongly recommend at this stage you stick with the standard 1024×576 values, as recognised and represented in AE.[jamesworsley] “Should i change this to PAL widescreen 720 x 576, pixel aspect ratio widescreen 16:9…..this squishes everything horizontally.”

[Andrew Yoole]

For my money, Blackmagic are the leaders of the pack. Never had a single problem with their gear – it just works.

[Andrew Yoole]

[jamesworsley] “After Effects:
768×576 square pix composition or
720 x576 widescreen?
You said when I export from After Effects I shoud stop using Square pix?
768×576 appears to be the default export setting if i use 768×576 as my comp setting(unless i stretch)….
So i take it i should use 720×576 comp setting which would enable me to render out as 720×576 uncompressed”

I’d forget sq pix once you reach AE. Use the PAL D1/DV presets to create your comps, either 4:3 or 16:9. Like I said, if your client is broadcasting on terrestrial UK TV you should be working in 16:9.

Clarify what you need to provide as your final output. If a Quicktime is fine, use a lossless format like Animation 100%, as mentioned above. Avoid DV compression at all costs – it is not an acceptable format for broadcast.

Determine what field order is required as well – only the output facility will be able to tell you this. (Generally, DV is always LFF, most broadcast PAL devices use UFF, but you need to check before your final render).

[Andrew Yoole]

First thing to consider is that all terrestrial TV in the UK is widescreen, which means your 4:3 measurements are probably incorrect. Plus, your use of DV compression is not a good idea if your work is to be broadcast. But to break down your questions:

Will it be correct to create graphics in Photoshop 768 x 576 square pix

In 4:3, yes. In 16:9, use 1024×576 sq pix. If you are using Photoshop CS or CS2, you can choose to work with non sq pix at 720×576 in either 4:3 or 16:9. Personally, I prefer to work with sq pix stills anyway.

Import into After Effects (settings PAL D1/DV 768×576 Square pix)

Yes, whatever format you’ve used, just be sure AE interprets the footage at that same specification. Use compositions in AE that reflect your output. Use the PAL D1/DV presets that match your output requirements.

Do my magic

Of course.

Export as quicktime using DV-PAL compression, Field Render :Lower field, 768×576

A big mistake here. PAL DV is STRICTLY 720×576 non sq pix, whether 16:9 or 4:3. It’s at this point you must stop using square pixels.
Personally, I’d avoid compression at this stage, and export uncompressed, not DV.

Import into Final Cut (768×576 CCIR 601 PAL Square pixels 4:3) to sync with sound track

Import into FCP at your output resolution, which will either be 720×576 DV (4:3) or 720×576 DV (16:9). If you’re following my advice and using an uncompressed codec, make sure the sequence in FCP uses that same codec.

Export using quicktime conversion DV PAL 720×576

Export an uncompressed Quicktime to maintain the best quality. Animation codec at 100% quality is also lossless.

[Andrew Yoole]

Double clicking the file in the project window should open it in a separate footage player window.

BTW, you should NEVER use mp3s in AE. Always use uncompressed audio.

[Andrew Yoole]

CC PS LE Classic is still in the Cycore CC bundle, under Effects/Simulation. Older projects may refer to the same plugin when it was part of Final Effects Complete. CC and FEC plugins do not automatically replace each other, despite being essentially identical. You can simply add the CC version to the same layer and cut and paste keyframes between them.

[Andrew Yoole]

Just to clarify, the CC plugins are included in non-educational versions of AE6.5, and all versions of AE7.

[Andrew Yoole]

If you’re happy with the look of David Langley’s tutorial, I’d just substitute a WIngding-style font using a solid square character, pulled titghtly enough together to appear as a continuous solid.

[Andrew Yoole]

So long as people are agreeing with me, I might as well contribute. 🙂

In layman’s terms, DV compression samples twice as much data in the green channel than blue and red. You’ll get a lot less noise if you follow the advice above and separate only the green channel.

[Andrew Yoole]

The question must be asked – why are you using your computer display card for video previews when you have a true professional solution (the Blackmagic card) built into your machine?