[Shay Carriere]

Thanks for clearing up some misconceptions I had about encompassing 24p into my workflow when necessary Dave. Sometimes it takes someone with experience to explain in laymen’s terms what manuals and fragmented forums can’t.

[Shay Carriere]

Thanks for the advice. The majority of work I do needs to be available for both web distribution as well as DVD so using a 30p or 60i workflow seems like the smartest path to take. One question regarding Cinema Tools, if I do choose to shoot 24p. Does the reverse telecine work the same for either 24p standard (3:2) or 24p advance (2:3:3:2). Or does CT automatically know how to handle them?

[Shay Carriere]

Hi Dave, I was specifically hoping that you’d respond to my post. I know from reading many of your past posts that you are a critic of the popularity of 24p. Could you tell me what your typical workflow is like… what frame rate you tend to shoot at and transfer methods between programs.
I do like the look I get from shooting 24p, but it causes so many headaches…
Also, from what I understand, shooting DV, with a camera such as the dvx100, is always going to tape interlaced, even when shooting something like 30p, and as such, is edited in a lower field first timeline. So the only true way to get progressive footage (to intergrate easily with motion graphics) is to use software like Cinema Tools in FCP or twixtor or the like in AE?

[Shay Carriere]

So there are no options within the material itself that tell it to look for depth of field before calculating transparency? I tried doing a multipass render with separate transparency and z-depth passes, but I couldn’t wrap my head around how to composite them in AE to take advantage of each pass….

[Shay Carriere]

I’m having this problem except substitue FCP in for PP and the fact that the editor already exported out Quicktime HDV clips for me to use. After Effects keeps crashing with an image buffer error which this has to be related to since ive looked into everything else…
So do I need to import the quicktime HDV clip into FCP or AE and export as maybe animation codec? Will my files be enormous? Which is better, FCP or AE for this task?

[Shay Carriere]

wow. that was an easy fix.

Next time i’ll know to mask hi-res footage at 100% and full. apparently having it at half size makes the frames look like they’re repeating.

…learn something new everyday.

[Shay Carriere]

Thanks for the advice guys, and great site Marco; alot of really helpful information there.

[Shay Carriere]

Hey Steve, a question for you. I take alot of text animation out of AE and drop it into my DV timelines in FCP. Exporting from AE using the DV codec destroys my crisp text but using the animation codec gives my huge file sizes which is no good considering the number of animations I do.
What would be your suggestion for a codec sweet spot for use in my workflow?

BTW, after bringing into my DV FCP timeline, the videos are generally output for online streaming (further compressed with sorenson squueze) AS WELL as converted to mpeg2 for DVD. (Although quality of online video is paramount.)

thanks

Oh also, I just started experimenting with photo jpeg which seems so far to work really well.

[Shay Carriere]

You’re at the core of what AE is all about. You need to precompose, separating your lower third graphic+text from the underneath footage. Your box, text and effect (which looks like fractal noise) should be in one comp (or more) and when you bring that comp into a second comp with your footage, you won’t have the problem you’re talking about.
Pick up “Creating motion graphics with After Effects” by Trish and Chris Meyer.
It’s still the most brilliant series of instructional texts I’ve come across.
Worth it’s weight in gold.

[Shay Carriere]

You might also want to add some grain that matches that of your original footage, that helps alot.