[Tony Kloiber]

I’m sure the other things we all want will come in time. My worry is, I pay now and, at NAB Adobe announces another update with actual new features. It use to be that AE updates were few and far between but well worth it. I’m wondering if that is changing.

If I had 3 bills I would just get Shake and know that its getting full support for my platform, is integrated into the workflow of my other applications and has the features I need.

TonyTony

[Tony Kloiber]

[Barend Onneweer] ” For one thing: you can now have two different comp windows open, and edit in a nested comp while watching the results in the final comp. May seem like a small thing in writing, but I find it a huge help in efficiency.”

You can do that now in 6.5

[Barend Onneweer] “And floating point is interesting for anyone who doesn’t want to worry about clipping their highlights.”

Yes. I’ve been using the 16-bit settings but of course many plug-ins are only 8-bit (some of them Adobe’s)

[Barend Onneweer] “The Graph Editor? Have you ever wanted to syncronize animation of two properties”

I’d probably do this with an expression then the changes in one, would show in the other. I do think that more control over the animating parameters is a good thing thought.

What I find odd is the fact that this time around I actually feel I need to demo the upgrade instead of immediately buying it.

TonyTony

[Tony Kloiber]

[Barend Onneweer] ” For one thing: you can now have two different comp windows open, and edit in a nested comp while watching the results in the final comp. May seem like a small thing in writing, but I find it a huge help in efficiency.”

You can do that now in 6.5

[Barend Onneweer] “And floating point is interesting for anyone who doesn’t want to worry about clipping their highlights.”

Yes. I’ve been using the 16-bit settings but of course many plug-ins are only 8-bit (some of them Adobe’s)

[Barend Onneweer] “The Graph Editor? Have you ever wanted to syncronize animation of two properties”

I’d probably do this with an expression then the changes in one, would show in the other. I do think that more control over the animating parameters is a good thing thought.

What I find odd is the fact that this time around I actually feel I need to demo the upgrade instead of immediately buying it.

TonyTony

[Tony Kloiber]

I think my point is that’s getting to be more and more one camp or the other. Not having used Motion much its hard to tell but, If I’m just doing Motion Graphics I think I’m fine with just Motion. It’s the VFX that pose a problem.

TonyTony

[Tony Kloiber]

I think my point is that’s getting to be more and more one camp or the other. Not having used Motion much its hard to tell but, If I’m just doing Motion Graphics I think I’m fine with just Motion. It’s the VFX that pose a problem.

TonyTony

[Tony Kloiber]

This, I’m afraid is war.

https://www.appleinsider.com/article.php?id=1472

Is cooperation between the giants ending?

TonyTony

[Tony Kloiber]

This, I’m afraid is war.

https://www.appleinsider.com/article.php?id=1472

Is cooperation between the giants ending?

TonyTony

[Tony Kloiber]

Another option, just for fun, is to do the first half of what I said before (output to hdv and recapture dv letterbox) then create a mpeg 4 template in compressor that gives you the frame size an progressive scan. You can adjust how good or fast you want the process to be and you might get it small enough to fit on a dvd (4.7Gb).

Good Luck

TonyTony

[Tony Kloiber]

There seems to be some confusion here. What media are you going to deliver the piece on? DV, HDV, Film, Disc? I could be wrong (as always) but if you have a frame rate of 29.97 your going to have interlaced. Rates like 30p or 24p or 25p are progressive, but if your being asked for 29.97 that is going to be interlaced. With the added info of 640×480 I can say it’s not Film, HDV or even DV.

I would ask what medium and format the festival wants the piece delivered on if HDV is not acceptable then the fastest way would be to record back out to HDV (deck/camera) then capture in the format needed. If you have firewire in/out only and you can’t deliver a dv tape then capture dv down convert with letterbox and reformat to the required delivery format (make sure you have a recored devise for that format i.e. Betacam deck, VHS deck, D5 whatever it is)

TonyTony

[Tony Kloiber]

There are many ways to do this, here is mine.

Duplicate the timeline in FCP. Name this timeline something like export_open 01. Clear out the clips that aren’t part of the opening (so you have just your opening montage). Click in the timeline window somewhere, anywhere (just not on any given clip) and then export the timeline by choosing File>Export>Quicktime Movie… .
When the dialog box opens select a location for this file. The file will be named for you already.

Now you need to check the settings in the lower left corner of the window.
Setting: Current Settings (I leave this as is, I’ll explain later)
Include: Audio and Video
Makers: (I never use these and I don’t think they show in AE but you can try)
Recompress All Frames – Unchecked
Make Movie Self-Contained – Unchecked

This method assumes that your FCP and AE are running on the same computer.

If you leave the “Settings” set to current settings and have “Make Movie Self-Contained” unchecked you will create a reference file. This file (that you will import into AE) will point to all the original files from your timeline – No new compression.

In AE, import the reference file and drag the reference file onto the make comp icon at the bottom of the project window and now you have a comp that is the right size, format and length, add your titles and render out using the settings that match your comp and this file will drop right into your original timeline on a video layer above the old montage clips and your done.

Rendering out of AE would technically speaking recompress you footage but in most cases this one generation difference won’t be seen. If you really want to avoid any recompression… well I don’t see any way around that unless the FCP timeline is uncompressed.

If you want, in AE you could turn off the reference file layer (in this example it’s called “export_open 01”) and render out using the losses codec and include the alpha channel (this would be just your text). Bring this file into FCP in the original timeline on a video layer above the old montage clips. Render and your done. Of course your rendering in FCP is recompressing the video files but any time you render a fade your recompressing the video files.

Hope this helps.

TonyTony