David Bogie
Forum Replies Created
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All I can say is be sure to read the release notes. Lots of things changed.
bogiesan
This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”
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It’s much more complicated than simply using or not using fields on the output. But, umm, your DVD is destined to be played on an interlaced display, a television set top box? Then you should incorporate fields in every step of your workflow. Every step. That is, you can’t bring a non-interlaced comp into a field-aware sequence and expect it to behave.
If your DVD is destined to be played back on a progressive display then fields may or may not be necessary. Depends on the playback system and the display.
These are two rough guidelines. The decision to maintain fields is complicated by yor delivery and your tolerance for essentially doubling the rendering times.
There are entire books devoted to progressive versus interlaced production.
bogiesan
This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”
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[tim] “I am not really sure where the most effective place for this post is so I will be putting it in several places. I hope this is not taboo. “
Just have the courtesy to go back to ALL of them and post your final solutions.
TIFF sequences do not play smoothly in any application that is designed to play movies. You can get a few dozen or a few hundred loaded into RAM but eventually the disk latency, RAM, and image processing routines will choke. You must convert the TIFF sequence to a movie of the appropriate size and codec to be played smoothly in realtime anywhere on anything.
Why do you think you need to be able to play TIFF as a sequence without converting it to a movie?
This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”
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Be sure to visit adobe.com and wander over to the AE support discussions. Tehre is an entire folder devoted to Intel Macintosh issues.
bogiesan
This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”
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You can apply some distortion effects to the isolated base but it would be far better to use the ray tracer in your 3D app to process the AE images. That, of course, requires the AE background to be golden before the 3D work is done.
Be sure to make a separate pass out of the 3D app that is just the base.
bogiesan
This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”
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Matte’s quote from JG will get you quite far but I’ve got to ask the question, “Why are doing this?” We’ve probably got a better workflow suggestion for you if you’ll explain your purpose in sending video stills of text from FCP to Photoshop.
bogiesan
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It’s my first job for this client so I want to deliver good quality movie. < There are severe limitations on transcoding to WMV but the tow platforms are completely different. When we encode to WMV we only use the Mac (using flip) for an estimate. The same file on a PC will look completely different. Sometimes it looks far better, other times it's far worse. it all depends on the subtlety of the settings and the amount of time we have to experiment. My advie would be to hire someone who knows how to do this and then spend a few weeks trying to figure it out on your own. Get everything to can find on the topic if you plan to make compression a service for which you bill your clients. If WMV is your main output, invest in a PC because a cheap used PC is cheaper than most of the high zoot compressors. bogiesan
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Red has always been a problem on video but it depends on your codec and display specs. CRTs are really bad with reds. LCDs not so much. You need to undestand pixel risetime, compression block handling between codecs, and know how to use a waveform and vectorscope.
You can get close to your client’s colors but there are technical limitations to using red that are simply built into video.
bogiesan
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I’ve watched some of those spots and just said, “Must be nice to have that kind of money and talent in the crew.”
If you can find the production companies, most will likely have a “how we did it” slug on their Web sites.
bogiesan
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A trick for the olden days was to bring 30 fps footage into a 60 fps sequence and make each field a frame. Now you have twice the temporal resolution.
Tracking is not easy under the best circumstances and rough footage makes the situation far more difficult. Your paper offers no discreet corners that can be solidly tracked so you will do lots of hand-tweaking to dozens of points that go off track. Can’t be helped. Unless, of course, you reshoot with motion tracking in mind. Use tracking dots o your props.
A big part of trying to do this after it’s been shot is lowering your expectations.
bogiesan