Jon Bagge
Forum Replies Created
-
The bad news is that this stuff looks like Russian to me.
It’s not Russian, it’s binary. You’ll need a hex editor to mess with that. And you’ll have no way of knowing what anything means.
If I were you I’d forget about this. The cost of upgrading to CS5 is surely much smaller than the cost of paying someone (like you) to spend weeks messing around in adobe binary files.
————–
http://www.jonbagge.net
Jon Bagge – Editor – London, UK
Avid – FCP – After Effects -
This probably has do to with the order in which Color Finesse applies the correction. I’m not sure about this but I assume it’s top to bottom in the order of the tabs. This means desaturation is done before RGB adjustments.
If you adjust saturation after RGB levels, those RGB levels are then applied to the lower saturation image which will have a different effect.
Color Finesse only has one set of adjustments (unlike for example Colorists which has primary, secondary and master), so you should either do corrections roughly in the order of the tabs, ie do desaturation first, or apply a second Color Finesse effect with desaturation. Or just add a hue/saturation effect.
————–
http://www.jonbagge.net
Jon Bagge – Editor – London, UK
Avid – FCP – After Effects -
Also bear in mind you can use proxies in AE. So even if you bring in quite large PS files, you can render a still proxy at 1/4 or maybe 1/9 resolution.
In most cases this will allow you to work faster, and you can turn off proxies for the final render. In fact the default ‘best settings’ render has proxies turned off. You may want to change this while doing preview renders.
But in the end you may find that some layers aren’t seen that close in your animation anyway, and you can keep the proxies even for the final render. I do this quite frequently. I like to bring in quite large files just in case I need them, knowing it’s easier to make/unmake smaller proxies than to have to go back and scan at a higher resolution.
————–
http://www.jonbagge.net
Jon Bagge – Editor – London, UK
Avid – FCP – After Effects -
The layers in that comp called ‘particular’ are all guide layers. If those are the layers you actually have your particle system on, that will explain why they won’t render.
————–
http://www.jonbagge.net
Jon Bagge – Editor – London, UK
Avid – FCP – After Effects -
And make sure you render in 16-bit (or 32) since you’re delivering in 10-bit.
————–
Merry Christmas! https://www.vimeo.com/18012728
Jon Bagge – Editor – London, UK
Avid – FCP – After Effects -
It sounds like you’re either not actually rendering at 1920×1080, or you’re rendering at 1920×1080 but with a non-square pixel size. Might be worth checking the render/output settings again.
————–
Merry Christmas! https://www.vimeo.com/18012728
Jon Bagge – Editor – London, UK
Avid – FCP – After Effects -
Another issue I’ve found After Effects struggles with. Overlapping layers in the same z-position. With a moving camera/lights, AE may decide to change what layer goes in front of other layers while the shot is moving. With shadows on this can look very strange.
But a look at your actual shot would help.
————–
Merry Christmas! https://www.vimeo.com/18012728
Jon Bagge – Editor – London, UK
Avid – FCP – After Effects -
Encoding for use in FCP and encoding for upload to Vimeo are two completely different things.
If you’re running FCP on the same machine as AE, I’d advice you to render straight into ProRes at full size (1920×1080) at whatever frame rate you’re working at. Then you should be able to play it back in FCP as normal.
This ProRes file is you master file. It should be about 1/10th the size of the uncompressed file you got before, but still good enough quality for further post-production work.
Vimeo actually has pretty specific targets they want you to meet for your upload. Check out https://www.vimeo.com/help/compression.
They want H.264 which is a delivery format that should also play back well on most modern machines, but isn’t really suitable for further work in FCP.
You should be able to use adobe media encoder or compressor to encode that.If you tell us what settings you’re trying to encode to, we can maybe help you work out your problem there.
————–
Merry Christmas! https://www.vimeo.com/18012728
Jon Bagge – Editor – London, UK
Avid – FCP – After Effects -
Thanks for the reply Dave, but which i7? The i7-980X with 12 cores sounds like it would encumber AE more than help it????
If you can afford to put in 24GB RAM (or more) you should be able to utilize the 980x. If you end up with a lot less you might as well go with a quad core, which will be substantially cheaper as well.
————–
Jon Bagge
Editor – London, UK
Avid – FCP – After Effects -
This is where my confusion really got started. Anyway, my company has an exclusive deal with Dell, so my options are limited to them. At this point I’m looking at a T7500, Dual 6 core Xeon 2.66GHz, 24GB RAM, Nvidia Quadro 2000. For the budget I have this seems like a nice balance. And if I need more RAM in the future it’s the easiest piece to upgrade.
I have a T7500 myself. Mine is dual 4-core with hyperthreading turned on, so I have 16 threads.
I have successfully cranked up multiprocessing to run 16 copies of AE each rendering a frame. (this is not really recommended, but I had to try) Works a treat.Using a more reasonable 4-8 AE threads, I’ve had AE run at 80-95% CPU usage for entire renders. It’s blasting through my renders. I’m getting impatient now if anything takes more than 10 minutes 🙂
I have 48GB of memory, if you can afford that I’d highly recommend it. The T7500 has a huge advantage over many other workstations in that it has 12 memory slots if you buy a dual processor. So you can get to 48GB using only 4GB modules, which are way, way, cheaper than 8GB ones.
I assume the 2.66 you’re looking at is the Xeon 5650, which sounds like the best performance/price of the high end Xeons. I was going for that one myself before I found a refurbished Dell with dual 5580’s.
Good luck with your purchase!
————–
Jon Bagge
Editor – London, UK
Avid – FCP – After Effects