Josh Kirschenbaum
Forum Replies Created
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It seems like this topic has faded away a bit…but I’m having a similar issue – and ANY help would be greatly appreciated.
My 23.976 ProRes 422 renders out of After Effects CS5 seem to have 29.97 Timecode tracks embedded in them. When bringing these into Final Cut Pro, they do not playback correctly – since there is this discrepancy. When I delete the Timecode track with Quicktime Player, they seem to be fine now.
The Metadata panel in AE CS5 indicates that the ORIGINAL footage has an Alternate Timecode Time Format of “23976Timecode”. When I bring my RENDER back into AE CS5, the Metadata panel indicates that it has a Alternate Timecode Time Format of “2997Timecode”.
I can find NO place in After Effects where I can alter this – it seems like there is a default XMP Metadata flag set somewhere, but I don’t know where.
I’m working with 23.976 ProRes 422 footage, importing into AE CS5, creating a 23.976 comp, and then rendering back to a ProRes 422 23.976 quicktime.
Any help would be GREATLY appreciated.
Thanks.
vfxjokir@gmail.com -
It seems like this topic has faded away a bit…but I’m having a similar issue – and ANY help would be greatly appreciated.
My 23.976 ProRes 422 renders out of After Effects CS5 seem to have 29.97 Timecode tracks embedded in them. When bringing these into Final Cut Pro, they do not playback correctly – since there is this discrepancy. When I delete the Timecode track with Quicktime Player, they seem to be fine now.
The Metadata panel in AE CS5 indicates that the ORIGINAL footage has an Alternate Timecode Time Format of “23976Timecode”. When I bring my RENDER back into AE CS5, the Metadata panel indicates that it has a Alternate Timecode Time Format of “2997Timecode”.
I can find NO place in After Effects where I can alter this – it seems like there is a default XMP Metadata flag set somewhere, but I don’t know where.
I’m working with 23.976 ProRes 422 footage, importing into AE CS5, creating a 23.976 comp, and then rendering back to a ProRes 422 23.976 quicktime.
Any help would be GREATLY appreciated.
Thanks.
vfxjokir@gmail.com -
Any luck with this?
It just started happening with me- totally stumped…driving me nuts!!
thanks!
j.
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You can use illustrator paths as “paths” for animation – just highlight the Z position of the camera and paste the path from illustrator – it will add keyframes to follow the path. I use this technique all the time to create circular path animations without having to use nulls…
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I am interested in getting information to and from Filemaker Pro from FCP…
Do you use custom XSLT templates?
email me at
thanks in advance!
josh.
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I have run into this problem – make sure “Preserve frame rate when nested or in Render Queue” is checked in the Comp’s Advanced Setting.
Not sure why this isn’t checked by default, but I’ve had problems rendering 23.976 sequences with masks on material that has pulldown – it’s as if the masks aren’t paying attention to the pulldown.
When you check that box- the problem goes away. Odd.
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Thanks for the info- so- with the XDCAM stuff- you’re able to capture “faster than realtime”, correct?
And does it make a copy on a local drive? Or are you constantly reading off of the XDCAM “master”?
We’ll be using the MPEG IMX tape format…but using the ethernet connection is the way to go.
I thought about using the DVCPRO codec to capture off of the IMX tapes- I feel like the recompression will be minimal…
How much bigger are 50Mbp/s IMX files versus the DVCPRO50 files? Aren’t they the same datarate (of course the audio makes a bit of a difference…)
PS – couldn’t find your email…if you want to continue this discussion offline, my email is vfxjokir at gmail dot com.
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Hey Dylan-
I think the Digital Heaven stuff is probably the way to go for dirt cleanup…
Dirt cleanup in AE is pretty good with the regular paint tool- although the cloning brush seems to try to hard to blend your strokes and it kills all the grain…
I’ve just started playing around with the new FCP 5.0 and Shake 4 integration tools- which are pretty good. Shake has some great paint tools- but moving from one app to the other to do paint/dirt cleanup is a little awkward- the paradigm is really designed for more complex work…but it works really well.
You just select clip(s) in FCP, choose “Send to Shake”, give it some script names (that’s the awkward part) – it makes a “ref movie” and builds a .shk script and launches Shake with everything ready to go. When you render your script, it’s automatically back in FCP placed in the right place in the timeline.
I still want to see better pulldown removal tools in these apps- the fact that you still need to use Cinema Tools is dumb. After Effects’ pulldown tools are still the best…but you really need Automatic Duck to totally take advantage of it.
josh.
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I think you’ll need to do a combination of white masking to decrease contrast, as well as a blur effect to simulate the refraction from the water condensation on the mirror.
Also- if you have to show the effect gradually, the condensation will appear on the cooler parts of the mirror, which will be at the bottom. So the “fog” will creep up the mirror…
Try breathing on a real mirror to see what it looks like…
j.
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Matt- has this problem recurred for you?
It’s happening to me now – and shutting down for a few minutes didn’t help..
The only thing that changed on my machine is that I’m running QT 7 now…but I have a Blackmagic Extreme
card running QT7 fine. It’s not Tiger 10.4 on either system, just QT 7…On my HD Pro system, video out works perfectly- I just can’t capture.
j.