[__peter__]

Thanks for the short answer 🙂

I wrote to RedGiantSoftware and wait what they have to say.

But in general that’s a interesting question for all plugins.

Who would buy anything now if there is no clear statement what will be when we have no other choice than the 64Bit version.

Peter

[__peter__]

OK, thanks.

Peter

[__peter__]

Thanks!

So I will ask Red Giant Software.

What I didn’t completely understand from Your answer is, if it will work or not 🙂

You mean it works in any case but maybe cannot use the advantages of a 64Bit Plugin. Which means I still cannot use as much memory. Right ?

Peter

[__peter__]

Thanks!

but JPEG – that’s a problem.
I need the full dynamic range for some calibration tests.

Peter

[__peter__]

[Dave LaRonde] “Considering the many, MANY people who use (and scale) HD footage in this forum –“

Sure You’re right.
That’s why I asked here, where the specialists are 🙂

[Dave LaRonde] “those who work with 2K comp sizes”

Those are mostly going back onto film and don’t get downscaled.

[Dave LaRonde] “and considering you’re very first person to report problems of this kind….”

No, but believe me, not everyone has that much experience.
If You follow some camera forums, there are big discussions about this problem. I meanwhile found the solution for me – with all the helpful replys here.

So thanks again!

Peter

[__peter__]

Hello 🙂

Chris: thanks – I have the reinterlacer 🙂 Somehow I forgot about it, as I always only use the De-Interlacer.

Finally the solution is drop the 50p into 25 and render out interlaced. So simple.

Thanks for all Your ideas. They all seem to work.

And for those that don’t understand the reason for doing so:
You will understand as soon as you have problems with aliasing when downscaling 1080i footage.

Again thanks to all!

Happy New Year!

Peter

[__peter__]

[Dave LaRonde] “It’s not as complex as you think: find the scale property and use it. As long as field order for everything is interpreted correctly, you’ll be good to go.”

Sorry – no 🙂 If you follow all the threads that are around in HD forums, downscaling interlaced HD material is not that easy. But that’s still another topic. If you simply downscale in AE the aliasing will be inacceptable. And adding a simple vertical blur will not help.

[Dave LaRonde] “An animated mask actually moves and changes its shape from field to field. If you have a keyframe on each frame, the mask will change on the intervening field. “

True – but that doesn’t help if the motion isn’t consistent over fields. That is when the field separation comes into play.

Anyway – Your idea with a 50fps comp is good. But then the timebase must also be changed to 50. I tried that. But it doesn’t give the same good results as the double time-stretch technique with re-interlacing in Premiere.

So has anyone a solution for the initial question ?

How can I make a render out of aftereffects, that makes the clip double speed and doesn’t throw away each second frame, but intermixes them to fields ? No, not frameblending 🙂 Fields.

Thanks!

Peter

[__peter__]

Hi 🙂

Thank You, but I am aware of interlaced video and how it is treated in Aftereffects. 🙂

Still there are several reasons that one would want to go the way I described. One example would be masking interlaced footage which is otherwise impossible in AE, as the Masks are used for both fields at once, which leads to wrong masks on fast movement.
I think I remember even, that I learned that workflow from the cow :)for mask problems.

My actual problem is a complex thing with downscaling from HD 1080i.

I have to go from 25i to a doubletime 25p with interpolated fields.

My question ist:
How can I intermix that again after Work is done to the single-field-frames into a “normal” 25i ?

Thanks!

Peter

[__peter__]

Hello,

that DVD is a US TV Series, but as it is published in germany I don’t know what they have done to the soundtrack.
This soundtrack is limited in a way, that extremely loud events are alway completely at maximum und dialog’s peaks also touch the maximum very often.
I recorded all those examples and the visual waveform of that was obviously different.

But it seems clear, that cinema productions have much higher dynamic range than TV. Which makes sense to me.
I just expected them also to be more limited.

Peter

[__peter__]

Thanks!

still I wonder why one should waste dynamic range.
Where is the reason to not bring the level to 0db or -0,1 on a digital medium ?
I am not suggesting that for amateurs that do their homemovies, but a professional production should have enough control over their audio to bring it to maximum level.

Anyhow … that’s semms to be the way it is 🙂

Thanks again – I probably will also be around -6 in future then.

Still interested in all opinions and tips!

Peter