Matt Silverman
Forum Replies Created
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“Best” is subjective. Linear Light is best for advanced 3D compositing where you are dealing with linear light sources. We stay away from all color management for the most part in AE.
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You can’t. Render the matte as a second DPX pass.
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Short answer is “no”. The current version of the plug-in you buy today will not work in CS5. You need a 64bit plug-in.
Since AE CS5 is not out yet, no 3rd party devs have released 64bit plug-ins. I am assuming most vendors will be charging for 64bit upgrades. Porting is not a simple process and requires development time (depending on the plug-in could be significant re-writing) and they probably will want to be compensated for this. Your best bet is to contact the plug-in vendor and see if they can cut you a deal for a free upgrade if you order now. Some might bite…
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Yes. None16 was our test codec to verify that AE was handling 16bit qt correctly without our compression interfering.
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Microcosm is the highest quality QuickTime you can kick out of AE, since it is still the only 16bit RGBA codec. And the lossless compression ratio is still one of the bestout there. However, I doubt that Red Giant will release it… kind of a bastard step-child that got inherited with the Digital Anarchy acquisition. Codecs are a dangerous business to be in (my company developed Microcosm and sold it to Digital Anarchy).
-Matt
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Please go to http://www.sfmograph.org to sign up.
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We have odd behavior with DVCProHD when 3rd party QT codecs are installed… I would try removing them and see if it helps…
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If you have the MP prefs set to Render Multiple Frames Simultaneously, this could be your problem. You do not have enough RAM to make this work right, and it is a bit sketchy in general.
Your memory prefs sound wrong as well… keep the Max Memory Usage at 120%, and lower the Max RAM cache size to prevent memory errors… if you drop it down to 10% you should be able to render almost anything since it will swap to your hard drive (ie. slows you down but gets the job done).
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Yes. BM captures 10 or 12bit uncompressed (YUV or RGB), so it is superior quality to any of the HD tape formats. HDCAM and SR both compress on tape, reducing the image quality. You can use a Sony camera’s HDSDI out directly into th Decklink to bypass the compression, which is what I try to do when I have a choice.
Your spec on SR is in the “SQ” mode… newer decks can do “HQ” mode which doubles the data rate to 880mbit/sec (ie. 110MByte/Sec). ProRes HQ’s data rate is 220mbit/sec, so it is throwing away much more information than SR. Both are 10bit.
HDCAM is really an old HD format and seriously compromises image quality. Besides the low 144mbit/sec data rate, it is only 8bit, and throws away 1/3 the chroma working in 3:1:1 color space. Even the low end pro-res is 4:2:2 10bit. Pus pro-res is using better compression algorithms.
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I don’t have the hardware (which is why I didn’t call support). I should have phrased my question better… My initial question was whether this is a software only issue or does this happen when the hardware is installed?
I did a project earlier this year which was captured with the Kona3 10 bit 4:4:4. I worked on the files with the software codecs, then forgot to remove them. We recently captured varicam shots firewire DVCProHD on another machine. I then comped and color corrected my shots in After Effects. We then set off renders on other machines and noticed substantial color differences. It took us a while to figure out that the Kona codecs were the culprit. We ended up putting the codec on all machines since the client bought off on the color.
I have verified that this is happening with the latest AJA codecs on Intel with FCPStudio2.