Erik Lindahl
Forum Replies Created
-
Somewhat related to this topic – how would one solve my problem fast in FCPX:
– I’m going to do 220 (two hundred and twenty) versions of a given film
– What is dynamic in each version is 1 audio-clip at the start of each film as well as 1 video-clip at the end of each editCould the above even realistically be done in FCPX? I wouldn’t call it a “breeze” to do in After Effects / Final Cut Pro but there won’t be any issues solving it there. From my experience it takes a few seconds for FCPX to simply create and open a sequence…
-
Might be a silly remark but I guess you’ve tried rendering everything in 16-bit? What is the output format? Even if rendering to an 8-bit file, working in 16-bit in AE will greatly decrease banding issues.
Otherwise noise, grain, channel-blur are good techniques. I tend to add 2-8% noise with a 0.2-0.4 fast blur on them or grain depending on the raw footage. Also, avoiding using 8-bit files are good if possible. Some filters in AE also still are only 8-bit and cause issues with banding.
-
I don’t think FCPX supports ranged based exports in its current state.
-
Also check that if the media is interlaced or progressive and make the same change to the timeline. If the ProRes-files originate from an odd source – double check their frame rate as well. I’ve seen 24.xx FPS when dealing with 25 fps footage for example. This is something FCP won’t like.
-
I guess you’re looking for the same thing as me – being able to edit layers in a pre-comped composition. For example having the layer “Layer 1” placed in “Comp 1”. This comp is placed in “Comp 2”. In Comp 2 I add the layer “Layer 2”. Here I’d like to do an expression to affect layer 1 in Comp 1 pre-comped in Comp 2 based on values from Layer 2 in this comp.
-
There have been comments regarding FCPX using more I/O than FCP7 for similar tasks as it buffers a lot of thumbnails for its skimmer. People noted moving to a proper raid from FW-drives made far more difference than in FCP7.
Not sure if that’s the issue you see here.
-
Preparering your media will greatly affect the rending speed in After Effects for sure.
Input footage size can severely affect rendering speeds of simple i/o operations, transformation-effect, and esp. if you add motion blur or filter to the footage. It’s always recommended to prep media as much as you can.
Other things to consider is applying filter to the layers of footage or as an adjustment layer in the comp. Sometimes the later can decrease rendering times considerably as you are affecting the comp-size rather than the footage size. If doing a pan / zoom over say something massive – a 12 000 x 12 000 image in a 720×576 PAL-comp, adding effects such as leveles, curves, exposure and so forth to the actual footage will kill rendering times. Simply adding it to the comp in an adjustment layer will rendering X-times faster.
Prepping footage prior to adding them to AE can even increase rending quality at times as well (avoiding aliasing or moarè due to large down-scales).
-
Then change your workflow. Bring video and audio together in a video editing application, where the audio will behave properly and export properly.
That’s a somewhat backwards way of thinking. This is an obvious bug in After Effects, QuickTime or Final Cut Pro – I’d say in how AE writes the QT-file or how FCP interoperates what AE writes to the QT-file.
Yes, you can solve it by using another approach (linking mono-tracks to stereo in FCP and rendering out a new file) given that takes time and shouldn’t be required.
I’d recommend people seeing this bug to submit a report to Adobe so they fix it.
-
Image sequence exports from FCP isn’t not recommended. You will get affected or degraded image quality.
-
I’ve had this problem since After Effects CS5 and onwards and haven’t found a solution. I have to manually link up the dual mono to a stereo pair in FCP which is a pain (and it’s happened others have missed this and actually delivered dual mono spots to TV).
A solution would be appreciated.