[Stefan Rochfort]

Great, I’ll make the switch. Thanks again.

[Stefan Rochfort]

Yes, ANY codec. However, I think I may have resolved the issue, seems there were some subtle RAM errors which became severe enough to be obvious just this morning. After reinstalling Premier and AE and removing the offending chip from the motherboard, I haven’t seen a recurrance of the issue (I’m pretty sure it’s the RAM rather than reinstallation that was the root cause).

Bizare that it only seemed to impact when using HuffYUV source files though.

Thanks again for your help.

P.S. – would you suggest using the more up to date Lagarith fork of the codec, or is it fine to stick with the older HuffYUV given it’s slight speed advantages?

[Stefan Rochfort]

Thanks for your reply. Unfortunately the problem appears to be a bit deeper than that. I can see that all the source HuffYUV encoded files are in fact fine when viewed frame by frame in AE – and the issue happens when exporting out of both AE and Premier Pro – also, the noise that appears in the export is on different frames, randomly, everytime I export the same sequence/comp.

[Stefan Rochfort]

Thanks for your reply. Is there a way to make the cache non volatile? i.e. continue to use the RAM/Disk cache built from the initial state, even though you’re making changes to the layers, – so basically tell After Effects to keep the cache until you explicitly purge it? also, do you know of a way to write a full low res cache to disk, associated with a composition/project so that you can use it in the another after effects session (e.g. after a reboot)?

[Stefan Rochfort]

Great, thanks for your help. One other question, I’m primarily doing composite green screen work with this footage, is photo jpeg going to be a viable option here, or is it likely I’ll need to use animation?

thanks again,

[Stefan Rochfort]

Excellent, looks like photojpg is ideal for my needs. Many thanks for your help. Just one question on photojpg – I’m assuming that if I’ve got multiple generations of compression (i.e. I use one compressed mov in a composition which is again compressed using photojpg for the output and so on) I presume I’ll be compounding compression/rounding errors. Any idea how many generations at a 100% before you get visible degradation (to the very anal)?

Thanks again.

[Stefan Rochfort]

Excellent, thanks for your help in this. I believe I’ve found another way to interpret the footage in Final Cut (altering the anamorphic flag).

[Stefan Rochfort]

If I crop in a 4:3 comp, then I’ll loose vertical lines of resolution though yes?

The final output will be to a DVD, however the main issue is getting it to be interpreted as 16:9 in Final Cut Pro (I’m performing some editing and all effects in Premier Pro and Affter Effects (both v6.5) on a PC and then handing off to the primary editor who’s working with Final Cut Pro on a Mac). When they import the original captured footage in either AVI or MOV format, it interprets it as 16:9 (anamorphic – PAR 1.42). But when he gets the footage that I’ve exported, it sees it as non anamorphic (square PAR).

I’ve tried mannually interpretting the PAR in Premier (it seems to get it right automatically in AE), but it doesn’t make any difference. Nore does any of the playing around I’ve done so far with the export settings.

Windows Media Player 10 definitely interprets the original footage as 16:9 (PAR 1.42), but other players see it as 4:3 (square PAR).