[Frank Wylie]

Sorry if this doesn’t exactly address your question but…

If you are working with end images that are below 4.5 and 8 GB, you can burn the Blu-ray .iso image to a standard def DVD with Imgburn and that will playback in most blu-ray players.

Good, inexpensive proofs if nothing else.

Other than that, I have had good luck with Sony.

Frank Wylie

“The camera is a base instrument; you must do violence to it…” Orson Welles

[Frank Wylie]

I have the same problem.

I authored a really simple Blu-ray DVD image in Encore, with a Single Menu page and two buttons; “Start in Black” and “Start at Countdown”.

The menu is the Blank NTSC menu with two “drive in” buttons from the Library and generic text on the black background.

I burn the Blu-ray image to a folder and mount the .iso as a disk and it plays back just fine.

I then take and burn this image to a blank media and upon playback, the menu is solid black with only the active selection highlight glow actually showing on the screen.

Weird.

Frank Wylie

“The camera is a base instrument; you must do violence to it…” Orson Welles

[Frank Wylie]

No answers from Adobe or any boards I have posted to, so I fell-back and disabled color correction, but am working in 32 bit project space, so I hope I can make all my corrections and then do an overall correction to render out to HDTV or Film color space for final output.

Broken and confused color space issues in After Effects seems to be the 800 LB gorilla in the room that no one wants to see…

Kinohead

“The camera is a base instrument; you must do violence to it…” Orson Welles

[Frank Wylie]

I’d go for a Minolta Autopak-8 D10 camera system. Not as well known as the Canons and Nikons but the flagship Minolta Super 8mm camera and built like a TANK!

The aspect ratio of a film camera does not change unless you matte it or modify the internal mechanism, BUT you can letterbox the image on transfer as long as you compose for same aspect ratio in the viewfinder when you shoot.

The native aspect ratio of Super 8mm is 1.58:1, so you’d have to lose some off the top and bottom to hit the 16:9 aspect ration of HD. Just mask it off in the transfer.

Kinohead

“The camera is a base instrument; you must do violence to it…” Orson Welles

[Frank Wylie]

So much for taking things at face value…

It appears these settings bomb-out in the AE compressor with the error: “After Effects error: image size or format not supported by compressor, or there may be a hardware or memory problem (53::30).”

This may or may not have something to do with the quality settings in the render queue. I set mine at “HIGH”, as it would be useless to have “draft” quality settings when I am trying to dust bust an image.

I will continue to post as I find out a solution, for whatever it is worth…

Kinohead

“The camera is a base instrument; you must do violence to it…” Orson Welles

[Frank Wylie]

Posted this question on several boards and got no response, so I went to Adobe and asked them:

*********************

Thank you for contacting Adobe® Web Support for assistance with Adobe
After Effects® CS3.
I understand that you would like to know what codec to use to render
proxies of your 2K footage.
You may consider rendering your proxies using the DV-AVI codec, as this
will typically preserve the color qualities of your footage while
producing a fairly small file. To do this:
1. Add your composition to the Render Queue.
2. In the Output Module Settings of the Render Queue, select Video For
Windows as the Format.
3. Click Format Options, and then select Microsoft DV for the
compressor click OK.
4. On the Color Management tab of the Output Module Settings, verify
that Preserve RGB is unchecked, and that Convert To Linear Light is set
to On or On For 32 BPC.
5. Click OK to close the Output Module Settings window, and then render
your footage.
I also understand that when you rendered your footage to an Apple®
Quicktime® format, the resulting video was entirely black.
For this issue, you may want to verify that you have the latest version
of Quicktime Player installed, and that your video card drivers are
up-to-date. Visit the Apple website to obtain the latest version of
Quicktime, and visit the website of your video card manufacturer to obtain the latest video drivers.

********************

I am posting this in hopes it may help others with similar problems in the future.

Kinohead

“The camera is a base instrument; you must do violence to it…” Orson Welles

[Frank Wylie]

Yes, I have been playing around with it and it works fine BUT it only works in 8 bit, nothing above.

Great stabilization routines; better than the AE tracking module for some things, but the 8 bit limit kills it for me.

*SIGH*

Kinohead

“The camera is a base instrument; you must do violence to it…” Orson Welles

[Frank Wylie]

Actually, I have been able to smooth out rough pan, tilt shots with great success by using multiple tracking points.

First of all, if you are lucky enough to have a single point to track through out the entire shot, start your tracking routine and track until the camera vector changes; i.e., the pan turns to a tilt, and halt the tracking.

If the movement was a pay, say, then go ahead an apply stabilization on the “Y” axis only (up and down).

Back up at least one frame BEHIND your last tracking point and start tracking point #2. Let’s say the camera is tilting up; track until the camera vector changes again and stop. Apply stabilization to the “X” axis (pan) only.

Keep doing this until you get the shot mapped out and then go back and fudge the overlapping tracking points manually until it looks acceptable.

Don’t forget to overlap your tracking start with the end of a preceding, pre-analyzed shot or you might have a sudden jump in the position of the image.

This is not an exact technique, you’ll have to explore and experiment to get it right.

Kinohead

“The camera is a base instrument; you must do violence to it…” Orson Welles

[Frank Wylie]

Its not exactly clear here what you want to do; are you saying you have a pan and zoom in one continuous shot and that you want to take the shake out of this shot?

If so, is the point you wish to use as a tracking point visible throughout the entire shot?

Kinohead

“The camera is a base instrument; you must do violence to it…” Orson Welles

[Frank Wylie]

Have you ever looked at the file headers to see how they are being changed?

What is the error code or message that is being displayed in AE?

Wasn’t color stripped out of Shake?

Wonder if it is a big-endian mixed with little-endian problem?