Robert Morris
Forum Replies Created
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No. As a freelance compositor, I don’t deal with capturing or exporting to tape unless it’s elements that I’ve shot myself on DV transferred via Firewire. So I don’t have anything like a Kona capture card or equivalent hardware.
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Also, I had read that there was such a thing in Avid systems to force the output to RGB (I believe it was actually called “video” mode vs. “graphics” mode). But if I am working with a FCP editor that has never had to deal with that before, how could I explain to them how to export the RGB uncompressed shots out of FCP?
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I second that. I was wondering the same thing. It takes an average of 2-3 minutes to load each page click on COW. I’m using Firefox as well. Cable high-speed connection. No page should be this slow.
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Thanks! Kona seems like it might be a viable option.
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Thanks. I’ve researched the SheerVideo codec before but haven’t actually had a chance to try it out. The problem is that the post house will also need to have the codec as well to be able to digitize the footage in it. But I believe the footage has already been digitized. It may just be an issue of talking to the post house when the time comes for me to get the footage and see what format it is in.
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You’re absolutely right. It’s been a while since I dealt with this issue and I got confused again. Yes, it’s a YUV issue because AE is working in RGB space. SheerVideo codec is supposedly a great one to use, but I haven’t purchased it yet. I guess I’m wondering how people normally deal with a situation where they are going from a YUV NLE application to a RGB compositing application, and then back again. Surely there must be some sort of workflow that is somewhat standard. I haven’t spoken to the post house as of yet to see how they are capturing the footage because the client is still locking shots. Basically, it seems that whatever format the post house gives me the YUV footage in, I should be able to turn it around and give it back to the client in the same codec (uncompressed) after I do my compositing in AE, working temporarily in AE’s YUV space but rendering out to a YUV codec. It may just come down to some lengthy conversations with the post house once we get to that stage. I was just hoping to figure out some options before that point.
Thanks for the info and suggestions. I’d appreciate any further thoughts anyone would have if they have run into this situation.
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Awesome! That seemed to work. I’m a bit fried to figure out why, but it does. Thank you. I’m new to expressions, but I hope to slowly learn more and more.
Thanks, Dan!
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I’m having the same issue as we speak (type). Except mine is the opposite. I received files exported from FCP DVCPro50 codec on a MAC saved as Animation codec. They came into AE fine on a PC looking good. Then I render them from AE on my PC using Animation codec again. And when I compare the renders to the Quicktime Animation originals that were exported from FCP they look exact, 1:1. Then when the editor brings them back into FCP on a MAC, my renders are brighter than the original footage. I’m guessing this is a YUV to RGB shift because FCP works in YUV and AE works in RGB. But should the editor re-export from FCP after switching his project to RGB space for export? I thought I read somewhere that Avid uses must do the same thing when exporting footage for AE compositing. Thanks.
-Robert
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Thanks! I’ll try it out when I can. It looks promising. Especially this last one, as it won’t step back any frames, right? Much appreciated!
-Robert
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Thanks! I’ll try it out when I can. It looks promising. Especially this last one, as it won’t step back any frames, right? Much appreciated!
-Robert