Exporting TIFF sequence settings for FCP
by Carolina Luna
on
Sep 10, 2008 at 2:36:04 pm
Hi all!
I've been working on some effects for a short film on AE. The original clips where imported from digi beta rushes. Now I need to export the whole film for FCP and Avid Media composer trying not to loose quality. Is a TIFF sequence the best option? If so, what should be the settings for this process?
Any help will be appreciated for my deadline is on friday morning.
Cheers.
Luna
Re: Exporting TIFF sequence settings for FCP by Chris Wright on Sep 10, 2008 at 8:53:54 pm
Your original was 10-bit YUV 4:2:2 sampling in NTSC (720×486) or PAL (720×576) resolutions at a bitrate of 90 Mbit/s.
I would go 16 bit 4:4:4: uncompressed with no generation loss like PNG or animation.
If you don't have room for that, use a codec that is 4:2:2 with bitrate of 90 Mbit/s like dvcpro HD 100 Mbit/s.
Use color management so that your colors don't shift like SDTV or HDTV. If you are unfamiliar with this, use PNG, it encodes color management inside itself so you don't make mistakes. finally, if you have transparencies, export out RGB+Alpha millions+ colors straight(not premultiplied). If you want to work with changing your brightness a huge amount later on, consider going 32bpc so that you keep your illegal white information. Finally, broadcast spec out a 16-235 levels so that the NTSC won't get line crawl.
Re: Exporting TIFF sequence settings for FCP by Joey Burnham on Sep 10, 2008 at 9:09:25 pm
[Chris Wright]"I would go 16 bit 4:4:4: uncompressed with no generation loss like PNG or animation.
If you don't have room for that, use a codec that is 4:2:2 with bitrate of 90 Mbit/s like dvcpro HD 100 Mbit/s.
Use color management so that your colors don't shift like SDTV or HDTV. If you are unfamiliar with this, use PNG, it encodes color management inside itself so you don't make mistakes. finally, if you have transparencies, export out RGB+Alpha millions+ colors straight(not premultiplied). If you want to work with changing your brightness a huge amount later on, consider going 32bpc so that you keep your illegal white information. Finally, broadcast spec out a 16-235 levels so that the NTSC won't get line crawl."
Don't you think that is a bit of overkill?
If your original footage was digibeta you should be working in an NTSC / PAL D1 preset or something similar. Just render out to the NLE's uncompressed codec or animation set at best.
Done.
Re: Exporting TIFF sequence settings for FCP by Chris Wright on Sep 10, 2008 at 9:53:05 pm
but wait! there's more!
1. interpret your digibeta footage in AE as upper field first.
2. don't forget to render out with fields on.
PAL broadcast SD is upper field first, HDTV broadcast TV is upper field first, SD NTSC is lower field first.
field order here:
http://www.vfxtalk.com/forum/video-field-order-reference-list-t176.html?s=d4f87322cd2e26eb3d7c3b650ccec3ba&
Re: Exporting TIFF sequence settings for FCP by Dave LaRonde on Sep 10, 2008 at 9:29:49 pm
[Carolina Luna]"I've been working on some effects for a short film on AE. The original clips where imported from digi beta rushes. Now I need to export the whole film for FCP and Avid Media composer..."
Can we assume that any pulldown issues have been resolved?
Dave LaRonde
Sr. Promotion Producer
KCRG-TV (ABC) Cedar Rapids, IA
Re: Exporting TIFF sequence settings for FCP by Carolina Luna on Sep 11, 2008 at 10:48:42 am
Hi!
I did not re interpret the material on my edit line of AE. Since I am going back to digibeta and not film, do i still have to worry about pull down issues?
And in any case, which compression should I use to go back to FCP so I can export to a Digi beta.
thanks again.
Re: Exporting TIFF sequence settings for FCP by Dave LaRonde on Sep 11, 2008 at 3:29:28 pm
[Carolina Luna]"Since I am going back to digibeta and not film, do I still have to worry about pull down issues? "
If you work with NTSC footage containing pulldown, you have to remove the pulldown, edit in a 23.976 (aka 23.98) timeline and work in AE at 23.976 if ANY of the following conditions are true:
• You're doing a film-out
• You're making a 24p DVD
• You're making a web video
• You're making motion graphics whose motion must absolutely, positively match the motion of the footage (think motion tracking or complicated open/close graphics)
It may sound like a lot of conditions, but it really isn't if you're doing simple editing with few effects -- the bulk of most busy editors' work loads.
Dave LaRonde
Sr. Promotion Producer
KCRG-TV (ABC) Cedar Rapids, IA
