[Matt Benepe]

It needs to be pretty accurate since we’re timing the 4D elements to the video.

I think i might have found a semi-complicated way to to do it.

1. Export out a 60FPS ProRes 3.1 mix (stereo mix on left and right channels, center reserved for LTC)
2. Export out a 30FPS LTC timecode as a .wav file
3. Bring that wav back into Premiere, and put it into the center channel
4. Export out the 60FPS ProRes video (that has the 30FPS LTC wav) – This is the final deliverable
5. Create a new 30FPS sequence, and copy my 60FPS timeline into the new sequence. Do TC burn in and export it out – This is the reference file for TC numbers

This provides a final at 60FPS that carries the 30FPS LTC wav. When doing the TC’s for the 4D elements, those numbers will be provided from the file that the same footage exported from a 30FPS project with 30FPS timecode burn in. Those number should match up to the ProRes final since the final has 30FPS embedded LTC wav TC (in a 60FPS export) and the reference file is 30FPS.

Am I crazy?

[Matt Benepe]

Planning on exporting ProRes. So it will inherently carry the timecode from the sequence without the need to do anything additional?

Do you know what type of TC it generates as the integrator needs to get a TC decoder. They currently have an LTC decoder, but said they could get a SMPTE one as well.

[Matt Benepe]

So i haven’t worked with Red footage before and was trying to import directly into AF to do the key. Once i got into some of the later clips I realized that I needed to go through the Red software instead. I did my color corrections and fixed the color casts, etc there and now i’m exporting to doing my key.

Thanks for the suggestions too for the future.

[Matt Benepe]

That’s what I was afraid of. Didn’t really see how re encoding would bring back the lost color information.

Dave you know what you’re talking about so I’m going to say there’s no way I’m doing it for the money which won’t even be close to the effort needed to fix this

[Matt Benepe]

I\’ll try a conversion first and see if that helps at all.

I seen some things that primatte keyer works better with this type of issue but I haven\’t used it. I may look into the color space converter but I\’m not sure if it\’s worth it. Basically I\’m deciding if I want to take the job and how much headache it will be. It won\’t be a high paying job regardless so sinking money into programs might not be the best answer.

That information is helpful though! Anyone else have advice as well?

[Matt Benepe]

The original files were exported out from FC as Animation codec after clip selection. Those were pulled into AF for keying. After keying they were re-exported as animation, and resized form 1920 x 1080 to 1280 x 720 with an pre multipled alpha channel.

I’m working on these clips as well as an outsourced guy that is working off of a PC with AF. Since he’s helping Key, he’s getting only Animation codec files

The source files are not xd cam, and are Pro Res HQ.

[Matt Benepe]

Dave, thanks for editing your original response.

Back to the question at hand, from the delivered source files they were Pro Res HD. That’s what it says when I did what you asked. They were shot on a EX-3 4:2:2 1080p, and again from the production company “Pro Res HD codec”

I’ll try checking the things you suggested. Yes, I didn’t need to export the original files out of FC with Alpha’s since there wasn’t any, but I do need to keep the alpha channels from AF.

[Matt Benepe]

yeah, i’ll check that out. My background is in editing, but I’m trying to get AF motion graphics under my belt now as well so this will help.

Thanks

[Matt Benepe]

thanks guys. I like the idea of locking it down and then shooting a handheld plate seperate to be applied later. This seems like a pretty straight forward solution and cost effective.

The handheld moves aren’t going to be crazy….they’re more subtle, like someone trying to stay on a subject with some slight bumps to spice up the handheld look.

This helps a lot. Love these boards….such a wealth of knowledge.