Paul Conigliaro
Forum Replies Created
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We currently use a Kona 3 for monitor previewing (Also CS3 & 8 Core Mac). It works pretty well, but we sometimes have audio sync issues since there is no frame offset control that I know of in AE.
I would say just make sure the OS is not trying to use your PCI card as an audio output in System Preferences. Rather, set that in After Effects. That has caused me more headaches as the Kona seems to have issues with different programs demanding control of it at any given time.
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I believe the timecode text effect will do this pretty easily. You can make a 5 minute comp, then nest that and reverse the timing (which sounds like what you’re already trying to do, and masking out the frame umbers?). Or there’s also the numbers text tool (just set it to use time and keyframe the offset).
Otherwise, you’d need to delve into expressions.
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You should be safe with 24fps throughout. I’ve mastered DVDs from 24p footage (actual 24p, not 24p with pulldown applied).
I believe most DVDs you buy of features are actually 24fps as well. The DVD player takes care of adding the pulldown and formatting the frame for whatever the aspect is of the TV connected.
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Huh, I just tried that. (Created a Solid, applied Basic Text, precomped and masked.
When you precomped, were you sure to check “Move all attributes into the new composition”? if you did, it should work fine. But I can confirm that a mask does not appear to affect the basic text effect (which would happen if you had “leave all attributes” checked instead). I believe this has to do with the render order in AE (masks, then effects).
Can I ask why you didn’t just use the text tool instead of the text effect?
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I don’t know if it helps since you’ve seemingly fixed it, but when I encountered this problem, it seemed to be caused by mixed motion blur settings (ie one layer had motion blur, the other didn’t). Setting everything to have motion blur (or removing all motion blur) fixed it for me.
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Dennis-
I might be a little late, but I actually had this question as well since I’m working with someone who wants to be able to monitor P2 footage @23.976 on a SD monitor over component.
According to BMD, this will not work as there is the difference in frame rates. I had really hoped that the IntensityPro could handle at least 2:2:2:4 pulldown, but apparently it can’t.
As you noticed, if you’re working with 59.94 (p or i) it works fine.
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The problem with cutting in native HDV is that HDV is an inter-frame codec, and anything beyond simple cuts and dissolves results in the wonderful “Conforming to HDV” dialog in FCP (as it essentially has to recompress everything anyway… and from HDV-> HDV, resulting in image quality loss). If you’re cutting a native HDV sequence, there’s no getting around rendering in HDV.
By transcoding to an intra-frame codec (at least one with less compression and higher color resolution, like ProRes) results in little to no image quality loss and the ability to do much more in an edit and with graphics without constant conforming slowdowns.
Generally you’re right, though. I’d much rather cut in native format. But with HDV (a format that should never have gone beyond consumer cameras), it’s a different ball game.
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The only way I know of to speed up compression times in Compressor is to have several machines on the network setup in Qmaster, which I’m not familiar enough with to do myself, let alone guide someone else in. Perhaps try the Final Cut boards for that?
As far as speeding up AE is concerned you can try the following these links from Adobe.
Also, when your rendering, hit the caps lock key. That will stop AE from updating the composition window during render and speed things up a little.
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Unfortunately, I’m not entirely sure the image sequence workflow will avoid the color shift issue as FCP will still do some fun things converting between RGB and YUV.
One thing that you might want to try is to open up Quicktime Player, go to the Preferences window and at the very bottom should be an option labeled “Enable Final Cut Studio color compatibility.” Some people have had a little luck with that as it is supposed to carry across all programs that use the quicktime libraries.
That said, I still export out of FCP using Uncompressed 4:2:2 to get footage into AE. At least for me, it tends to minimize the color shift issue.
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As a rule, I almost always render out of AE uncompressed (or near uncompressed) and compress it later. I would render to lossless and if you have Final Cut Studio, use compressor to get the file size down.
If you’re only occasionally needing to render to compressed codecs quickly, I wouldn’t recommend a $3000 card.