[Chris Wright]

Well favorite and usuable are two different things. There’s different ways. In order of speed opposite quality.

1. hand roto (slowest, best)
2. Mocha tracking (slow, good)
3. color finesse secondary color picker with mattes. (instant, no guarantees)

[Chris Wright]

that was NTSC 29.97fps 59.94 fields/sec. PAL is 25fps or 50 fields/sec. So for PAL TV, Maya out 50fps as fields off, so when its dropped into PAL comp, the frames will get turned into fields automatically, yay!

Now if for some reason, you are unable to render out of Maya, for any reason, like time just use this.

https://magazine.creativecow.net/article/interlacing-progressive-footage

[Chris Wright]

go 59.94fps from Maya then each field gets a frame or use Revision’s fieldskit Re-interlacer which adds fields motion estimated, something AE can’t do alone. It works great on animated buttons too.

[Chris Wright]

I’m going to take a stab at this smoothness thing. First off, I have noticed that the distance an object travels per frame is consistant on film and not so on DV. That creates more jerkyness than any blur can cover up.

That may be why DV pulldown cameras like the dvx100a still do not look like film. The spacing between movement is not consistant. Besides that, their pulldown is wrong.

True reverse pulldown should follow the pattern WWSSW, but most camcorders do not do that pattern. That’s why RED works so well, its taking 24 pictures not frame percentages with messed up cadences.

Ironically, even with a $10,000 Hi Def Tv, you’re still only seeing 23.9 fps.

[Chris Wright]

– First for monitoring :
You should set your monitor for color management, r,g,b,and gamma to 1.8(mac). or 2.2(pc). Adobe has one, but there’s some other high end calibration software out there. There’s footcandles, gamma, etc. on some LCD’s. Since you’re not going to Tv, you won’t need to worry about NTSC signals.

Adobe recommends using linear color profiles for film work.
A must read!!! -All 5 parts.-
https://www.fxguide.com/fxtips-315.html

You can use DVCpro HD for final output, but I wouldn’t export and import more than 3 times, or you’ll start seeing color shifts because its not a 10bit 4:4:4 environment.

Film is 2048 not 1920×1080 HD TV. but if you shot cam at 1920, then ask if you want to leave blowup to the film developer. They will do a better job than enlarging software. Even with 2K DIs, sometimes titles are produced at 4K since sharp graphics are less forgiving of resolution loss.

Here’s an incomplete list of options for producer to choose from.

2.35ar (2048×872).
Cineon Half 1828×1323 1.37ar
Cineon Full 3656×2664 1.37ar
Film (2K) 2048×1556 1.32ar
Film (4K) 4096×3112 1.32ar

As for TGA, it shifts a lot, Use PSD or TIff (LZW off) if you want to use smaller image sequences, but anything below trillions and you will lose color. OpenEXr and Cineon float are used by professionals to keep perfect images. What are they?

https://library.creativecow.net/articles/oconnell_pete/cineon.php

DVCpro Hd uses HDTV color management. Interpret it that way, but move into linear color management 32bpc asap. That’s the https://www.fxguide.com/fxtips-315.html.

A lot of people send out a 29.97 pulldown from 23.976 project on tape to the film developer. You should ask them what they can take. They know what they need to do, make sure you do too.

[Chris Wright]

I think with Nucleo, you have to turn AE’s multiprocessing off. and doing really high rez previews don’t always work realtime.

[Chris Wright]

hold cmd-option-shift while opening AE. It will reset your preferences and AE should then open.

[Chris Wright]

download the demo and duplicate how it breaks down the workflow in AE.

https://fxhome.com/effectslab/pro/video-gallery/3

[Chris Wright]

https://forums.creativecow.net/thread/2/951192

[Chris Wright]

Are you simply trying to turn large pictures into panning or hand held camcorders looks? Or are you trying to use pictures to become animated scenery?