Kevin Camp
Forum Replies Created
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enable the disk cache too in the memory and cache settings and make sure no other rosetta app is open. you might also want to get in the habbit of purge>all prior to rendering. and if you’re not rendering any effects that need data from previous frames, you can even set the secret purge every xx frames to 1.
when those options don’tt work, i’ve broken the comp into several pre-comps, pre-rendered those with import and replace usage, and then rendered the final comp.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
your output setting of avid dv codec would tell me your working in dv which would make me think your comp should be dv standard 720×480 rather than d1 standard 720×486.
select the footage in your ae project window, the little preview at the top should also give you the dimensions. does this match your comp?
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
this is probably a better question for fcp forum, but you said you had hd to edit? what preset did you use to edit in? did you edit in a non-hd preset? it may be that your original footage was in a fatter codec than what you editted in, like a differnce in dvcprohd and hdv, and fcp may have converted/rendered the footage to the lesser codec. or possibly the footage was edited in a standard def preset, where the same effect would probably occur.
i haven’t worked much in fcp, i’m just theorizing…
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
could you just apply your blur and your mask to your logo layer? then the blurred logo would be getting ‘cropped’ by you mask and you could then render with alpha and place on top of your original footage.
as far as the size shift, are both avid and ae set the same size? sometimes one can be set at dv (720×480) and the other d1/601 (720×486) and that can create a slight shift.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
i havent worked with fcp much, but generelly if i need to effect clips in ae, i will always use the nle to do the conversion from yuv to rgb (using a lossless or uncompressed codec) and again from rbg to yuv at import.
you can make the adjustments in ae using the expand 601 levels in the interpret footage panel, and then create an adjustment layer to knock them back down to 601. but since i don’t know exactly what the expand 601 levels is doing to the footage, i can’t be sure my levels adjustment is the exact reverse. so there may be shift. if its all done in the nle, then hopefully it’s more consistent.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
you should be able to import your ai file as a comp and maintain the layer structure of your ai file. first, each vector part of the illustration of your ai file that you want comtrol of in ae must be separtaed into layers. you can have ae separate them by selecting all your vectors (the elements you want to separate must be ungrouped) and choose release to layers from the layers palette. newer versions of ai will create sublayers so you may then need to pull all the sublayers out of the parent layer. now when you import into ae, choose import as composition, and you should have all your layers ready to go.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
the adobe site should provide all the differences between the two, but i believe along with the effects, there may be differences in 3d (standard may not have it at all), network rendering…
actually i went and typed “pro only” inthe help menu and found 148 results.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
this is probably more an avid question, since things are good in ae… but i’ve worked with avid editors and i have seen problems when avid is set to import the wrong color space. ae works in rgb so the import settings on avid should be set to interpret the file as rgb color space rather than 601. pixel aspect ratio in your case should be set to non-square(based on your comp size).
you are correct to render straight rather than premultiplied. and i would always render to the lossless animation codec especially when you have an alpha.
now the jaggies… are you seeing these when you play out the animation, or just looking at a single frame?
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
corner pinning may be the easiest way to place the logo on the barn. play with blend modes and opacity to allow some texture to come through. could even use a color adjustment on a copy of the barn to create a matte that you can use as a track matte for you logo if you need to knock out areas between wood slats or something. could also use the barn image as a displacement map for the logo for some extra depth.
for the next shot, again, blending modes may help let some shading details come through and a displacement map to mimick the highs and lows of the topography will be needed. the fly over shot will most likely need to be tracked if the logo is to be painted on the field. if the logo is floating over the field (traveling with the camera), then the dispacement map will need to animate to move with the topography, or you may be able to fake it with some animated fractal noise as your displacement map.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
if your interpret footage settings are correct, ae should do a descent job of deinterlacing your footage… you can check the interpret footage settings by selecting your footage in the project window, then, in the file menu select interpret footage>main… the separate fields option should be lower (ntsc dv, not sure about pal) and you can check the preserve edge quality.
you can then look into reducing artifacts, but you can get a key from dv, its just a little more work.
Kevin Camp
Designer – KCPQ, KMYQ & KRCW