Kevin Camp
Forum Replies Created
-
lossless is an option in quicktime… you can export from premiere to go to ae or render from ae to go to premiere (or any other piece of software that can use quicktime, like dvd applications, compression utilities, etc).
apple’s lossless animation codec is as old as the hills (well, as old as quicktime anyway), and is probably the most popular intermediate codec around (by intermediate, i mean go-between codec). it supports millions of colors and alpha channels, and you won’t lose any quality rendering to it over and over again.
so what’s the negative of this wonderful codec? file size and data rate… the files may be smaller than uncompressed (or sometimes the same size), but they will most often be very large and require fast hard disks to play out in realtime.
since ae is not a realtime application, large files (or high datarate files) aren’t a big issue, but when you take them into your nle, you will want to convert them to the codec of other footage that you are using in your nle (no big deal, the nle will convert them at import).
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
the cheap way is google earth… i think you can get licensed for broadcast useage for under $500 (check with google, i had looked at it about 2 years ago).
microsoft has an online mapping software… ‘live’ i think… i don’t know if it animates the way google earth does.
curious world maps does do exactly what you want. it also allows you to fully customize the look of the maps and incorporate other graphics. it will can also work with microsoft live satelite imagery which sounds like what you’d like. but it is pricey and satelite imagery icensing costs more. you’d want to check with them about pricing options, but i think you’d be looking more at $5000 and up. additionally there is a bit of a learning curve to get it up and running, so you may be looking at training, or at least having someone set up templates to allow you to build maps more easily.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
i found the script here.
but dave’s reference file suggestion is good…. (i’d listen to dave, he’s a fcp user, i just know how to get footage out of fcp to take it to ae).
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
you can grab the ‘raw’ footage straight from the capture scratch folder that fcp captured to.
you could also render out to an uncompressed or lossless codec, then you would not be recompression your footage.
there are techniques to go from fcp to ae without the duck, i belive there is a script too, but i will have to search a bit for it.
is this any help?
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
hi todd
i had forgotten about that background ram preview feature… i’ll have to see what kind of money my department has left in the tank at the end of this year and try to spend it on nucleo pro….
thanks
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
i forgot the original post as slowing 60p to 30p, not interlaced… so for the record, this method works for 60p also…
enjoy
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
nucleo pro seems like a great addition to ae, i’ve been curious about the performance of nucleo pro versus cs3 multiprocessing render engine. although having the ability to render in the background and still do work on another comp may make it worth while even if the render performance is the same…
nucleo pro should also help if you were forced to use cs3 in rosetta for plugin or codec** issues on intel macs. i know it was reported as a great benefit intel mac users who had to run ae7 in rosetta… nucleo pro provided some how worked better with the ram restrictions rosetta placed on ae (or any emulated powerpc software).
** i also should have mentioned that you will need universal binary versions of your third-party codecs too…
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
beenie is correct, photojpeg is introducing more loss, it would be preferable to go lossless or uncompressed if you can…
however, photojpeg at quality settings above 90 isn’t quite what i would call major quality loss. i would recommend the lossless animation codec, or a photojpeg setting above 95 for footage that will be chroma keyed.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
well, i finally checked out maltaannon’s method, i think that modifying the frame rate of interlaced video in the interpret footage settings to half the desired frame rate (old-skool method) is easier.
but i started playing around with dave’s really old-skool method using time stretch, and i think it may be the easiest way of all…. and it looked as good as my old method. here’s how:
-take interlaced 29.97 (or 25 pal) footage into ae (make sure the fields are separated correctly in interpret footage or glance at the footage info at the top of the project window).
-make a standard frame rate comp.
-drop the footage in.
-apply time stretch (layer>time>time stretch..) and set it to 200%. (you could stretch 29.97 interlaced footage down 250% if you used a 23.976fps comp).
it was that easy and the results were as good as my tried and true interpret-footage-as-half-frame-rate method.
additional steps that may help some footage:
-enable the smooth edges feature in the interpret footage settings.
-enable frame blending (frame mix rather than pixel motion).
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
glad i could help again….
if you do a lot of credits, i had created a preset that you can download called flickerfree credit roll. it’s pretty easy to use… in fact if the credits just need to roll from offscreen bottom to offscreen top, you don’t even need to add and keyframes.
it will work on any frame size or frame rate… it does all the math calculating that dave leronde describes in his method, so you don’t have to. the only variables you need to deal with are the comp’s duration and the credit list’s length.
i’ve been thinking about having it provide some sort of message window with a recommended displacement value if the initial calculation give a value that seems to high, but i haven’t really worked that out yet.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW