David Ghast
Forum Replies Created
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“If it’s 59.94P, you can interpret the 59.94 as 29.97 interlaced footage. After interpreting it this way, it’ll treat each frame as a field. Drop the footage into a 29.97 comp and you should be good to go.”
Holy crap is this the quality of advice thats on here? For the love of film, dont convert your footage into interlaced. Have you ever rotoscoped using fields instead of frames? I have, and now im convinced even professional telecine houses dont know wtf they’re doing.
“Mine actually requires an additional step with Time Remapping which will inevitably result in a softer image. ”
There is evident blurring and your still suggesting it? On top of an unneccesary and resource consuming time remap? Consider for a moment how much time and frustration your misguided advice will cause this person and then shut up.
Andrei – you have 59.94 (60fps dropframe) progressive footage. If you want 29.97 you simply import it into virtualdub and go into the tools->frame menu and select ‘decimate by 2’ in the frame rate conversion area. There are other ways of doing this but this is simplest. Do not rely on any adobe product to engineer your source files as they will most likely misinterpret what it is and mangle it beyond recognition. Best practice is to always keep your source in lagarith RGB and export likewise for encoding.
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No, one of the first pictures i posted was the original png zoomed 2400% in with acdsee and looking normal.
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Um ok, then use a different browser if yours is broke. Dont know what else to say, im asking for what amounts to a fix to a design fault. Ive ran into this before where thin transparencies are blurred into uselessness, i guess this is why no major motion picture uses AE for anything serious, if at all. I guess its time to start learning nuke.
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I tried the two suggestions so far which turned out to be right as far as the subpixel issues go ( or at least one way to solve them ):
but the problem remains, whether i use “alpha add” or make sure the positions are whole numbers or use export with draft quality:
AE blurs graphics and there doesnt appear to be any way to prevent it.
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I tried converting uncompressed and it worked fine, apparently avids encoder cant read a majority of codecs out there, which means you have to do an intermediate encode to uncompressed before doing an intermediate encode to mxf. Brilliant.
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So i need an mxf converter…If avid’s own mxf converter cant convert to a format avid can accept then how am i supposed to find one that does? That doesnt make any sense.
And there’s nothing in the 1500 page manual that says anything about how to import files beyond the simple import dialogue, and on top of that it says it accepts MXF file when clearly its telling me it doesnt.
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Hi, so what i did was open a new project, then i went to import-> and imported an avi (it was in lagarith), which caused avid to automatically start transcoding it to mxf. Once it finished it my avi was in the bin, but when i put it on the timeline it was blank, although its duration was correct. I found the .mxf files it created and tried importing them, but it wouldnt let me until i tried through the media tool, but when i attemtped to drag them onto the timeline it told me i couldnt.
So how do you import media into avid? I’ve read the manual on importing and it doesnt say any more than ive already done.
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until you are able to answer ryans questions with accuracy there’s not much anyone can do for you. I suggest reading each question then asking google a corresponding question to further understand what’s involved in media production.
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if you dont find any answer (im curious too how this would work), then the last ditch ghetto option would be to use a batch renamer which can at least offer an easy way to create a pseudo reel/take naming scheme (intake is typically the work of assistant editors, hope their paying you well for doing multiple jobs).