[Neil Ryan]

You have to keep track of your fields throughout the process.
In AE, you have to interpret the source material correctly, then you must render your output in the appropriate field order.
Check this process at each step.

Maybe let us know that you’ve done/not done this aspect correctly.

cheers,
Neil.

[Neil Ryan]

[Jerry Hofmann] “If you close the sequence in the Timeline Window both it and the Canvas will go away”

requires the disclaimer, Jerry: ‘when only one sequence is open’
does it not?

Neil.

– – – – – – – – –
Neil Ryan
Post Production
The Pod Multimedia
http://www.the-pod.com.au
– – – – – – – – –

[Neil Ryan]

Yes, your information is sketchy, but it sounds like it could be a fields issue; more specifically, a field order issue.
You may want to add the ‘Shift Fields’ filter to your clip and see if that resolves or at least positively alters your issue.

Neil

[Neil Ryan]

… and how long, crystal ball owners, until we see these in the edit suite!

https://www.microsoft.com/surface/

the mind boggles.
Enjoy!

– – – – – – – – –
Neil Ryan
Post Production
The Pod Multimedia
http://www.the-pod.com.au
– – – – – – – – –

[Neil Ryan]

Alex,
did you get any answers to this post?

Are you still unsure?

What drawing applications are you using?

cheers,
Neil.

– – – – – – – – –
Neil Ryan
Post Production
The Pod Multimedia
http://www.the-pod.com.au
– – – – – – – – –

[Neil Ryan]

“… you might not know we have a full Color forum here on the Cow.”

Where’s the Tim Wilson headline? –

‘ Creative Cow Goes Color ‘

sorry …

– – – – – – – – –
Neil Ryan
Post Production
The Pod Multimedia
http://www.the-pod.com.au
– – – – – – – – –

[Neil Ryan]

[rafalaos] “But why to keep in Beta? I guess that for less money than you rent the Beta camera you can rent a digital one that will give you better quality and less problems to put the footage in your HDs.”

Rafael makes a good point.
Based on what you said initially:
“My Client wishes to have a project done in 16×9 Standard Def.”

You need to deliver a 16:9SD master.
Separate your capture from your delivery. Not so long ago, you’d shoot Super16 for something like this. Then deliver a BetaSP master.

Don’t know what acquisition gear you have, nor what gear you’re prepared to rent, but the previous posts cover plenty of options; just remember to separate your Acquisition medium from your Delivery medium.

cheers,
Neil.

– – – – – – – – –
Neil Ryan
Post Production
The Pod Multimedia
http://www.the-pod.com.au
– – – – – – – – –

[Neil Ryan]

Have a look here:
https://www.apple.com/finalcutstudio/compressor/specs.html

Lists ProRes 422 as an input but not output option.

I’m not arguing with you Jerry; I’m just curious to find out as much info as I can, and the accuracy of this information – the viable use of such a codec – has a great bearing on various workflow scenarios.

Would love to clarify this one. (I don’t Compressor 3, yet)

Thanks all,
Neil.

– – – – – – – – –
Neil Ryan
Post Production
The Pod Multimedia
http://www.the-pod.com.au
– – – – – – – – –

[Neil Ryan]

You need to have at least one clip with the reel name you wish to use.
Given that (manually change one clip first, if you don’t) multi-select all the clips you wish to correct, even if they have different reel names;
right/control click the Reel Name of one of those clips;
select the correct name from the list that appears;
they’ll all be changed after you say YES to the pop up question.

Its very quick ‘n’ easy.

Hope that helps.

Neil.

– – – – – – – – –
Neil Ryan
Post Production
The Pod Multimedia
http://www.the-pod.com.au
– – – – – – – – –

[Neil Ryan]

… and I notice that in Compressor 3, Apple’s ProRes 422 codec appears as an INPUT but not OUTPUT option.
Would the same be true for QuickTime itself?

In other words, is ProRes 422 a ‘hidden’ or inaccessible codec?

Thanks,

– – – – – – – – –
Neil Ryan
Post Production
The Pod Multimedia
http://www.the-pod.com.au
– – – – – – – – –