[Will Macneil]

Thanks for the help, guys. But I’m still a little lost. I’ll try to break down my question:

I’ve rendered a scene out from C4D. It’s several flat objects moving over a static background. I want to run this shot at 50 percent so that later I can speed it up and generate an interlaced file.

Please let me know if I understand this correctly:

I should render out one pass of motion vectors from C4D (I’m using R11.5)

This should only include the moving objects. The static objects should not be included in the vector pass.

Twixtor will then create its own alpha based on the vector pass(?) Or do I need to import a matte for this?

I also need to determine whether C4D renders out vectors looking forwards (next frame) or backwards (previous frame) (?)

And finally figure out whether these are in positive or negative spaces in relation to Twixtor’s setup.

I only need to fill in one of Twixtor’s vector inputs?

Thanks for your help,

W

Will MacNeil
Film Editor
London

[Will Macneil]

Thanks for the help, guys. But I’m still a little lost. I’ll try to break down my question:

I’ve rendered a scene out from C4D. It’s several flat objects moving over a static background. I want to run this shot at 50 percent so that later I can speed it up and generate an interlaced file.

Please let me know if I understand this correctly:

I should render out one pass of motion vectors from C4D (I’m using R11.5)

This should only include the moving objects. The static objects should not be included in the vector pass.

Twixtor will then create its own alpha based on the vector pass(?) Or do I need to import a matte for this?

I also need to determine whether C4D renders out vectors looking forwards (next frame) or backwards (previous frame) (?)

And finally figure out whether these are in positive or negative spaces in relation to Twixtor’s setup.

I only need to fill in one of Twixtor’s vector inputs?

Thanks for your help,

W

Will MacNeil
Film Editor
London

[Will Macneil]

Thanks, this was with ProRes (obviously an Apple codec.)

W

Will MacNeil
Film Editor
London

[Will Macneil]

Thanks, David.

W

Will MacNeil
Film Editor
London

[Will Macneil]

Thanks, where’s that blog? The link comes up to a page on personal finance.

Thanks,

W

Will MacNeil
Film Editor
London

[Will Macneil]

Thanks for that Rafael, that’s a big help. It’s pro-res from now on!

Cheers,
W

[Will Macneil]

Point taken about the ‘none’ codec. It’s been the defacto option for me for a while now when I’m sending stuff off to an Avid based facility. In the past, too many shots were coming back because they didn’t have the codec I wanted to use.

As for the rendering time, I’m fine with 50 minutes. What’s bugging me is the output to XDCam that is lasting several hours and often failing.

W

Will MacNeil
Film Editor
London

[Will Macneil]

Thanks guys, this is kind of a strange one.

I’ve been doing 3D animation for a series and delivering each show on a hard disk as Quicktime files with no codec.

They’ve asked me to supply as part of the deliverables all gfx on one XDCam (sort of a backup without resorting to HD Tape.)

So I’d rather not re-export all my material in XDCam quicktimes. Instead I’m dropping all those quicktimes into an XDCam sequence.

What I’m trying to figure out is where the big slow down is occuring. A full render of my timeline is taking roughly 50 mins, so that’s not a big deal.

What I’ve done now is setup a new sequence using an Easy Setup. My hope here is to check if the export from a rendered timeline will be faster if I’m using a pure XDCam format. What I’m not clear on is what happens as the video goes out the firewire lead. Is is getting compressed again?

If this proves too slow, I’ll just render everything in a nice pro-res sequence and output it via sdi.

W

Will MacNeil
Film Editor
London

[Will Macneil]

Here’s my two cents on this:

Offline is cheap, online isn’t. So, having cut many docs using non-timecoded archive sources, I would suggest the following:

Cut your film with the DVD archive. Don’t worry too much about getting any reliable timecode from the originals. When you’re nearing the end of the offline, order up the archive masters. By this I mean, the footage you need with handles. Get it all transferred to DVCAM with good, reliable timecode that will match whatever you’re conforming with, and eyematch it in your offline. This was you make sure you get the right shots and you got into the online with a rock solid EDL.

You’d be surprised how fast you can eyematch once you get skilled with it.

W

Will MacNeil
Film Editor
London

[Will Macneil]

Try this:

Create a new blank sequence. Load your current edit into the viewer and overwrite it into the new sequence. This should nest it.

W