Kevin Camp
Forum Replies Created
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also, make sure the caps lock is not on.
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how are your previewing your .mov? is it in a comp timeline or are your double clicking the file from the project pane (or folder/desktop)? if it is in the timeline, are you hitting the spacebar to render the preview or the zero on the #s keypad?
placing the .mov in a comp and hitting the zero key on the #s keypad will generate a ram preview of what is in the timeline. a ram preview is usually the best way to see a realtime play out in ae. hitting the spacebar will actually render the preview to disk and play out from there, so high data rate files (large frames or high frame rates) may not play back correctly. double clicking the file will open the .mov in the quicktime player, and play the file from disk too, with the same limitations.
it also might be helpfull to know something about your system and operating system. and what the .mov was encoded as — which codec was used; mpg, animation, etc.
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i have to admit i haven’t used page turn much, but i can’t say i noticed too much streching of the image. are you seeing this in a broadcast monitor or your computer screen? i’m wondering if you’re seeing a nonsqr image issue as the image is turned… usually with a page turn a verticle edge is turned towards horizontal axis.
if you’re using a d1 or dv comp setting then your pixels are a 10% taller than they are wide, so as the image’s edge gets turned the pixels will look streched about 10% when you see them on a computer monitor (which can only show your square representations of your nonsquare pixels).
a broadcast monitor would show you a more accurate representation of what is happenning.
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place your ‘fill’ layer (the layer your want the key applied to) below your matte (key) layer. use the track matte pulldown of your ‘fill’ layer and set it to use your matte layer (these options, if not visible, are in the ‘transfer control’ pane in the timeline, in ae7 there is a button on the lower left corner of the timeline to open).
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actually i don’t have twixtor, nor have i used it. it may work for you, and if you have access to it, try it. you could also try andrew kramer’s deitnterlace in after effects tutorial here:
you could additionally deinterlace in photoshop (as you mentioned before) if you really wanted… you just need your footage as an image sequence, then created an action (a set of steps that you set up in photoshop) that will deinterlace an image (filter in ‘video’), then set up a batch opperation in file>automate… using your deinterlace action, select your image sequence folder and a destination for the new files.
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as far as ‘molding’ you…
there is a lot of info on the web (probably a loot here too) about the pitfalls of 24p in broadcast environments. but genereally, if you shoot 24p, remember that you will always want to edit in 24p (if you capture from tape you will always need to make sure that pulldown is removed, and even, better that the duplicate frames are removed). you don’t want to edit the interlaced 24p with pulldown, there are too many places where you can make a bad cut. even if you can live with the occasional ‘bad cut,’ you’ll have great difficulty going back to your progressive footage if you needed to (for additional compositing, or a progressive format like dvd or computer/web output) because your pulldown cadence will be all screwed up.
you’d also rather not have to edit in any true 30i footage for the same reasons mentioned above… you could try deinterlacing the true 30i and then throwing that into a 24p timeline, at that point you’ll have to determine if dropping a few frames every second looks better than blending a few frames per second.
the best route is to stay 24p through out a project then (if needed) add the pulldown when you print the final project to video. that way your pulldown is consistent the whole way through, but if needed you could recapture the entire thing and remove the pulldown and you have perfect 24p again.
you might also want to consider shooting with one of panasonic’s p2 cams. then you get files (versus tape, so no extra time capturing later) and if you shot 24p, you get 24p files, no pulldown to remove. it may make life much easier.
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the keying problem may or may not be a big issue, depending on the footage. generally, the more movement, the bigger (or more noticeble) the problem. also if the camera is moving (versus the subject within the frame) you will often have see more problems.
you’re going to have problems editing incorrectly interpretted 24p, and also outputting. example: are you going to edit in a 24p timeline, or a 30i? your footage isn’t either one. so when you go to render to video (30i), then how ar you going to interpret your misinterpretted footage? i think you’ll encounter problems here too, how noticeable the problems are will be based on your particular footage.
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you can see fields on your computer screen, but you computer screen draws them progressively, they don’t split an image into fields to draw the image. so you won’t see how badly your footage may play bcak on tv (note: ae ram previews are progressive not interlaced, so you will most likely want to try playing footage in premiere).
if your destination is progressive, then you’ll have to remove the fields. especially if your desitantion is something like a progessive dvd, where most people (who don’t have progressive tvs) will by viewing your supposedly progressive movie, interpretted with a pulldown to interlaced… but you ‘propgressive’ was actually interlaced, and some pretty bad things would result.
i think dave’s reactions are the result of editors dumping this kind of stuff on him or his department and saying i need some effects and fix this weird problem we have with playback. it sucks when that happens, because its a lot of work to resplit a promo up into individual clips, determine the pulldown of each, select the correct pulldown for interpretation and bring those clips back in and reassemble them just so you can add some effects and rener it out correctly. at least you don’t hae true 29.97 footage cut into imporperly handled 24p, then its a whole lot of work to produce barely acceptable results.
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we seem to have bad timing with our replies…
24p is recorded to dv tape as 29.97 interlaced via a pulldown. the pulldown can then be removed at capture, or within your software (ae, premiere, etc) after capture. then, of course, back to 29.97 for video (well, tape… you could create a progress dvd).
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that is interesting… it may be that your clips are 29.97, and are being interpretted within the software as 23.98, and each piece of software is guessing a different pulldown cadence. try going to a problem frame (one where fields are visible) in ae. then go to the interpret footage panel for your clip and change the pulldown (ie. sswww, swwws, etc). try a few, do any remove the fields?