[Sharad Patel]

thanks!

I prefer Rob Bottin to Rick Baker

[Sharad Patel]

I did exactly that (written in my post). It doesn’t make a movie that can play/scrubs every time (either in Final Cut or After Effects). There must be a flaw in the apple prores codec, or should I say, not a flaw… a limitation in it’s versatility.

I prefer Rob Bottin to Rick Baker

[Sharad Patel]

I’m doing work like this:

https://www.vimeo.com/10036011

I prefer Rob Bottin to Rick Baker

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[Sharad Patel]

Yes, I think my only choice is to not go with the apple pro res HQ. I was doing this as an archival/master format that I could handle on my home studio setup.

I’m plan on some extensive color manipulation later on to the footage and felt like the deeper (but still space economical) the file depth the better.

What do you recommend? I can easily take my clips into compressor and re-output them into a bigger more stable framed format.

You recommend pro res 422?

I could also go with a good old PNG uncompressed frame sequence for each clip.

thank you so much for the response! Where should I post about this problem with the codec? To warn others?

I prefer Rob Bottin to Rick Baker

[Sharad Patel]

I am on the same machine with final cut 7.0.2

after effects 9.0.2

I prefer Rob Bottin to Rick Baker

[Sharad Patel]

I did mean 29.97, and I’m interpreting the footage at 23.976.

I think I have discovered a problem with apple pro res HQ:

If you reinterpret 29.97 apple prores HQ footage as 23.976 (it should just play slower) but in after effects or even in final cut pro (where you can change the frame rate interpretation using cinema tools) an apple pro res file will sometimes just freak out and not play or display.

It must have something to do with the intermediate non-existent frames. The compression must specifically only be able to be decoded at the same framerate it was encoded in.

I prefer Rob Bottin to Rick Baker

[Sharad Patel]

I’m not 100% sure how to interpret the first sentence of your answer. I believe you are advising that it is better to shrink the colorspace and limit the levels in the master footage creation rather then during the encoding. Keep it 1-255 in the encoder if the master footage is already 16-235.

nostalgia is like heroin