Kevin Camp
Forum Replies Created
-
i agree, i think you should shoot to p2…
i think you may be losing color information by using hdv rack… i’m not sure, but i believe you are sending your dvcpro100/hd data to a hdv system that then spits out an mpeg2. your dvcpro100 codec has a data rate of 100Mb/sec, hdv is the same or less than dv, 20Mb/sec or 25Mb/sec. so your stream out of the camera may have 4-5 times the data than your input device can handle, so i think the hdv rack is converting to hdv data rates and then compressing again to mpeg2.
if you don’t have an nle that will bring in the mxf files put the dvcpro100 files into a quicktime wrapper or convert to a lossless codec, there are other tools taht will do it. if you are pc based panasonic should have sent a p2 viewer witht he camera taht i believe will convert the mxf to other file types/codecs to bring into ae, if your mac based there are a few tools that cost around $150, hd logger i believe is one.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
can you pre-render comps 1 & 2? you can easily set up a postrender action to import and replace usage, so ae will automaticly update comp 3 with the renders of comps 1 & 2. your time remapping setup should work with the rendered footage.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
i ran the blackmagic speed test on a 2 drive sata raid0… 10 bit yuv 4:2:2 tested at 120fps (pal) r/w; 10-bit rgb 4:4:4 tested at 80fps (pal). i don’t know if that helps you?
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
the vegas effect should work.
make sure it is set to trace image contours. then, in the rendering settings of the effect, set the mid-point and end opacities to 1.000 to give you a solid line, and set the color and width as needed.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
the blown out look of the exported qt animation file may be due the yuv-rgb conversion (or lack of conversion)… when you export out of avid, i believe you should be able to select a conversion from 601 (yuv) to rgb… and, like wise, when you import back into avid there should be an option to convert from rgb source footage.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
we’ll start getting a good idea of what ae cs3 can do very soon, when the beta is released. the rumors have been that it will better utilize multiple processors (or processing cores) and better (or more widely) utilize opengl and your gpu.
once the beta is released, the testing will begin… and we should get a good idea of how effectively ae uses muliple processors and how many features and effects are accelerated by opengl.
in addition, we’ll get to see the benifit of universal binary ae on an intel mac. heck, having a ub version of ae might feel like having a 8 core mac, at least for a little while…
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
you might try exporting out of avid as a quicktime using the lossless animation codec… exporting to dv is recompressing the dv footage you edited. if the lines you are seeing are fairly subtle, they may be due to compression.
just to ask… are you seeing these lines in a broadcast monitor or your computer screen, and are you only seeing these in ae, or do you also see them on the ae rendered footage when it comes back in to avid? i’m wondering if you’re seeing the pixel aspect correction in ae’s preview window, which would look sort of like vertical ‘aliasing skips’ in the image. in a broadcast monitor (with 16×9 setting) or back in avid it would look normal.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
sometimes placing empty adjustment layers in between your 3d layers help ae figure out which layers are in front of other layers in 3d space.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
the easiest way i know of would be to re-shoot and adjust the shutter speed to match the a multiple of the refresh rate of the computer monitor. you should be able to see the phase issue in the view finder of the camera and as you make an adjustment to the shutter speed/angle then you should see it effect the phase on the computer monitor, so it doesn’t hvae to be mathmatical.
not knowing what is on the computer monitor, you may be able to use an effect like echo that can use information from a previous frame and composite it on the current frame. i would think a setting of one echo, and blending mode of maximum and the closest offset value that can cover the phase problem might work ok. however if there is much movement in your shot, echo will probably not give you what you are looking for (it will blend that too for a double image like effect).
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
i think your workflow is good (although i don’t think you need preserve edges on if you are going to render back to interlaced)… i think it maybe your footage…
does your shot contain sharp or contrasty detail around horizontal edges or patterns? detail like that would create issues with interlacing, and create a vertical shift like effect when you separted fields this way.
if your 50fps comp workflow is too difficult to work in, you cound try the same workflow but with a 25fps comp, and render back to interlaced (your footage is actually still interlaced, the separate fields option just allows ae to apply effects as if it were progressive, but you can still render back out with fields on).
Kevin Camp
Designer – KCPQ, KMYQ & KRCW