Ivan Myles
Forum Replies Created
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I experienced the same issue but do not have a solution. Because of this problem I usually use motion tracker instead.
What format is your source footage? If the file is long GOP format like H.264, MPEG, VC-1, etc, AE might be having trouble tracking through P and B frames. Try converting the clip to an all intra-frame format like ProRes, DNxHD, AVC-I, or uncompressed. No guarantees it will work; just trying to troubleshoot.
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Looks like banding. Your source footage was recorded using 4:2:0 Y’CbCr (YCC) color with 220 graduations (16-235). When shown on an 8-bit display the signal is converted to 4:4:4 RGB with 256 graduations (0-255). The combination of chroma sub-sampling and 8-bit rescaling leaves gaps in the color spectrum. Take a look at the image through the RGB Parade scope and check for black horizontal lines. The missing colors correlate to the bands in the RGB image.
There are a few ways to manage your workflow to minimize the issue, but it will be difficult to overcome if the delivery codec is 8-bit 4:2:0 YCC (e.g. H.264, MPEG-2, VC-1, Flash). The best bet is to add some grain with the Noise effect; about 1.5-2.0% should work.
To avoid having noise appear on the actor make a copy of the clip and place it on the timeline above the original clip. Add a Luma, Chroma, Color, or RGB Difference Key (whichever one works best with the footage) on the top clip to separate the background from the actor. Add noise to the bottom clip.
Regarding the codec, if you want to use DNxHD then edit the footage and create intermediate files with a 1280×720 sequence. When it is time to deliver the final file, just embed the 1280×720 timeline into a 1280×544 sequence and export at 1280×544.
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Sometimes the queue is slower and sometimes it is faster. In a test of 40 rendering jobs it was 30 seconds slower on average. When transcoding from a master file the queue was 2.4 minutes slower per file. The main advantages are background processing and the ability to queue multiple jobs in succession.
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Use the razor tool to trim to the desired in and out points. If you don’t want to trim on the main timeline, create a temporary sequence to edit the clips before inserting into the main sequence.
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[Eric McCarthy] “just out of curiosity, why did you recommend against AME? I use this all the time…”
It helps with troubleshooting to eliminate potential contributing factors. In addition, if the output is being rescaled upon export then sending a job to the AME queue can degrade image quality, as discussed in this post.
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You can either add black video or a title object in a track above the clip, or keyframe the clip’s opacity from 100% to 0% over the frames you want to black out.
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An alternative method is to expand the audio track waveform in the timeline panel and select “Show Audio Time Units.” The layout will be less cramped with two displays.
Otherwise, you could use Adobe Audition if you don’t mind going back and forth between applications.
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I recommend using a direct export from Premiere instead of the AME queue.
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Try trimming the edges with the Crop effect.
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If the rendered file is being transcoded I recommend an all-intraframe structure with key frame distance equal to one (1) frame. ProRes, DNxHD, or AVC-Intra would be better than H.264 for this application as long as the file is 720p or 1080p.
