Brent Bye
Forum Replies Created
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I’m yet another with the same issue of AE CS3 unexpected quits when using Multiprocessor rendering.
Second generation MacPro 8-core with 16GB of RAM.
Previously had the stock hard drive and the ATI 7300 graphics card.
Now have a faster WD hard drive and the nvidia 8800 graphics card.
New drives and graphics card made no difference other than application hangs rather than quitting and disappearing.I’ve even gone into the Preferences file and adjusted the “Maximum Number of Processors” for the application to use. This file is found in User>Library>Preferences>Adobe>After Effects>8.0>Adobe After Effects 8.0 Prefs
After enabling Multiprocessing in the Appliction Preferences, close the app and open the above preferences file. You’ll scroll down to a block of code labeled [“MP”] which has the preferences for Multiprocessing. In the “MaxNumberOfProcesses” = “0” section you can switch the number to up to 6 I’m told (leave a couple processes available for the OS was the recommendation I received).Even after this change however, I’m still experiencing a hanging application and have to force quit and revert to non-multiprossor renders in order to get any work done.
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Sounds like an interesting experiment.
Do you think QT will have a problem detecting cadence in the reference movie because of the switch in cadence during editing? Also, many of the timelines are a mix of about 95% 24Pa footage and some 24P and even 60i footage. I wonder what that would do to cadence detection? -
Right you are Jeremy,
Those are the dates, and that is the exact time when all this work was done.
The day the DVX-100 came out, I got it and began to shoot and edit. Prior to all of the Final Cut Pro integration and ability to import using the “Advance Pulldown Removal”.
Yes, it would have been super awesome back then to have been able to injest and edit at a native progressive 23.98 timeline…it just wasn’t possible until they updated FCP.
In the meantime, I was a busy little bee up until the point when I could import 24Pa footage into FCP.
Now I’m just trying to figure out how to make those old archive edits and footage all nice and progressive in a 23.98 timeline.
All these years later it seems like some delayed karma getting me back for being an eager early adopter of a camera in 2002…
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Hello Dave,
Thank you for the detailed post. My bad for using incorrect terms such as “conform” when I perhaps should have said “convert” or other terminology.I do understand the 3:2 pulldown process and as stated in the third paragraph of the first thread here, I have run all of my original footage through Cinema Tools and removed the pulldown effectively giving me all 23.98 footage ready for a 23.98 timeline.
Problem is, all of the edits were done years ago. I have a dozen projects all of which were edited back in the days before “Advanced Pulldown Removal” injest options of the modern FCP versions. I would really prefer to not have to completely re-edit nearly four hours worth of projects.
My biggest issue is trying to figure out the most reliable method for converting the 29.97 edit into a 23.98 edit so I can simply reconnect to my pulldown footage.
Thanks for all the suggestions so far…
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Luckily, everything rendered out of After Effects is at an actual frame rate of 23.976 (comps were built as such as well)
QuickTime however does not display the frame rate of the clip as such. Opening the AE project reveals 23.976 comps and the renders are labeled as 23.976 when imported into AE. Opening the same clips in FCP or Quicktime, the frame rate is displayed as 23.98
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All of the 24Pa footage was captured years ago when there was no option for capturing with “pulldown removal”. At that time, all editing was done at 29.97 as there was no other option for 24Pa besides a 29.97 edit.
Is it possible to recapture with the new “Advanced Pulldown Removal” setting and then reconnect to a 23.98 timeline. Again, problem is the edits were all done in 29.97 timelines.
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Hi Kevin,
I wish originating in a 23.98 timeline would have been an option years ago with DV cameras but unfortunately myself and tens of thousands of other shooters have years of 24P footage aquired on DVX-100s and the like that only acquire 24P footage by conforming it to 29.97 with an on-the-fly pulldown in camera.
Before recent versions of FCP there were not even options to capture footage into FCP with the “Advanced Pulldown Removal” option. So I and many others are stuck with a massive capture scractch with years of footage that is 24P conformed to 29.97 in DV-NTSC format.My end goal is to simply have all native progressive footage in a 23.98 timeline but all my source footage is 29.97 (24Pa)…not much I can do but try to figure out how to convert it all. Biggest problem is getting the edit to conform across the two time bases. EDL export to Cinema Tools is not a well documented process and may not by the best result I’ve found so far.
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Multi track edit in FCP with video/audio as well as separate narration and music tracks. Standard type stuff…
Edit is at 29.97 with DV footage.
DV footage was Rev Pulldown and covert to 23.98 audio linked to video is fine.Trying to get the edit to conform to a 23.98 timeline, then will reconnect the upresed 23.98 footage to it.
Attempts so far have 23.98 footage in the 23.98 timeline but original narration and music tracks are out of sync.
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Voiceover Tool within FCP makes .aif files in the capture scratch that are 16-Bit Integer (Big Endian) at 48 kHZ
The the files went into Soundtrack, had compression added and the output file that went back into FCP say the same details, but have no .aif extension. I believe I just named them without an extension upon Soundtrack export.
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Narration was done with the FCP voiceover tool for the most part. Recorded as 48 Khz quicktime audio with an added pass through Soundtrack for audio compressor addition then back into FCP as same sample rate 48 Khz.
Does the sample rate matter for sync and timing concerns or is just essentially a quality setting?