[Walter Soyka]

I’m sorry, I mis-read your initial post the first time around. Do you have the latest drivers for your capture card? If AJA, have you tried the AJA plugin for AE?

From the Preview on an external video monitor page in AE’s help system: “Whether or not color management is enabled for the project, After Effects does not manage the color of previews on an external video monitor. The colors sent to the external video monitor are in the working color space for the project.”

You may have additional settings to adjust the RGB > YUV conversion on the output card in your AJA or Blackmagic control panel.

Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events

[Walter Soyka]

It looks like there was a problem handling interlaced footage at some point in your workflow. Can you start from the beginning and describe your process? What was the footage shot with? How did you import it into FCP? What are your sequence settings?

Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events

[Walter Soyka]

I’ve never tried this before, but it might be useful to record comm onto one of the camera iso audio tracks so the editor can hear what the director is calling.

Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events

[Walter Soyka]

Can you post a screen shot showing these horizontal lines?

Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events

[Walter Soyka]

When you render your comp, choose “Multimachine Sequence” as your Output Module. If the render fails, just add the re-render the comp; Multimachine Sequence will automatically skip existing frames.

If you use any other kind of image sequence, you must check the “Skip existing frames” button in the Output Module settings.

If you use any Output Module that creates a movie, you will not be able to resume where it failed.

Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events

[Walter Soyka]

Do you have the text items pre-composed? If so, have you checked the Collapse Transformations/Continuously Rasterize checkbox?

Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events

[Walter Soyka]

[matthew bradshaw] “Yes, but that doesn’t mean you have to record the output of a switcher. Unless time is pressing, and as money is tight, record each camera, have the director direct the cameras and multicam it afterwards. Best of both worlds. I’ve never not had to use the iso recording at some point during an as live show yet. “

I guess it’s a question of economics. I’d think that with all the engineering necessary for a proper three-camera shoot, a switcher rental would be reasonable.

I agree that many live switches end up being finessed in post, anyway, but I’d rather hand my editor a nearly-perfect line cut and ask them to fix a handful of questionable switches than hand them the isos and ask them to read the director’s mind all the way through.

If editorial time is cheaper than a switcher rental and an extra record deck, then by all means, skip the switch. But I wouldn’t skip the director or communication with the camera ops during the session.

Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events

[Walter Soyka]

[Kate Koyama] “I was planning to drop the 960 by 2160 video 4 times and positioned them into their respective quadrants, but this doesn’t seem to be a very good way to do it. “

That’s exactly how I’d do it.

The only thing I’d add is that you might see better performance on final output if you pre-render the original 960×2160 comp, or create and use a best-quality, full-resolution proxy for your original comp.

Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events

[Walter Soyka]

Do you have any items queued in the Render Queue before you Collect Files?

Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events

[Walter Soyka]

Also, you shouldn’t use AE to do your final compression. It’s incapable of multi-pass compression, so it doesn’t make very good-looking MP4 video. A better workflow is to render a lossless file, and then use a third-party compression application, like Telestream Episode, Apple Compressor, Sorenson Squeeze, or Adobe Media Encoder.

Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events