3D/ 2D workflow issue ...

[jazzthief]

I've been getting alot of conflicting recommendation when it comes to settings in 3D, comp and video edit/ output.

Usually, I render my Softimage animation as D1, frames, 30 fps, TGA sequence (just recently SGI due to 16 bit channel support). Then import into After Effects for compositing and render it out as D1, 30 fps, SGI sequence. But recently changed the comp setting to TGA with RLE compression 24 bit (since I got a weird stare from a colleague by using SGI). Do I lose any image quality? And edit/ output in Media 100 or Avid Xpress DV as 30 fps. Or is 29.97 suggested??

It seems everyone has a different approach. From rendering in Softimage as fields, TGA, 24 fps ... AFX as TGA/ RLE, convert 24 - 30 fps ... edit/output in Premiere/ Avid as 29.97.

What's the best methodology for a 3D/ comp/ output setup. This stuff is getting really technie and confusing.

I was planning for the next Softimage animation to render as D1, 16 bit, 24 fps, frames, SGI sequence. And comp it in AFX as D1 but render as D1 720x486, 3:2 pulldown 29.97 fps, PICT sequence, 16 bit into a non-linear editing package to output to tape.

Does this sound right and will I have problems with synching sound?

thanks.

[fredc]

Not sure why you are outputing with compression. You should keep your original frames uncompressed before passing them to an editor. TGA is fine, since it keeps the alpha channel.

Just work in 30 fps and pass those on to the ediitor. The editor will output 29.97 fps (NTSC) when it composities everything for video.

Hope this helps,
Urp

[atyss]

Bonjour jazzthief,

Here are my recommendations (this is how I work and so far I never had problems).

In the 3D package:

• I render in NTSC square pixel, 720x540. I never use field rendering in the 3D software.

• I render 30 fps. The 29.97 is for broadcasting, and should be used only if you send your material to a TV station. 24 fps is for film, and should be used only if your project is intended for cinema.

• I always use the native Softimage PIC format. The only difference between a TGA of 24 bits and 32 bits is that the 32 bits has an alpha channel. If you don't want an alpha channel use the 24 bits. NEVER use compression.

• As far as I know, TGA doesn't support 16-bit channels. Only PSD, TIF, SGI and some other exotic formats (like RAW) support it.

• Also, you should output 16-bit/channel images only if your project is for cinema. TV screens and computer monitors can only display 8-bit images. I don't know for HDTV.

Now, in post:

• I work in square pixel (720x540), and I use After Effects.

• My main composition is called COMPO PRINCIPALE (in French).

• I create a composition named Output. Output has the D1 settings (720x486, pixel ratio of 0.9). In this composition I place COMPO PRINCIPALE. I have to slightly rescale COMPO PRINCIPALE after the import. To do so select the layer and do Ctrl+Alt+F.

• The Output composition serves as the rendering composition. If I output to Avid, I use field rendering, Quicktime format, with lower field first, and Avid Quicktime compression (you can found the codec on this forum).

• If I use Media 100, I don't even use my Output composition. Media 100 deals well with square pixel images and with non-field renderings. Also, with Media 100 you can't have a format larger than 640x480 when using square pixel images (but it accepts 720x486, 0,9).

• Media 100 accepts both uncompressed Quicktime movies and TGA sequences. I don't know for TIFF/PICT/SGI, and I don't know if it accepts 16-bit/channel images

@@@@
will I have problems with synching sound?
@@@@

Can you elaborate? I don't see how you could have problems.....

When I output to Avid, I render in Quicktime, so the sound is contained in the rendering. When I output to Media 100, I render in Quicktime with sound included or TGA sequences (in this case, I render an uncompressed Quicktime movie with audio only).

If you have more questions feel free to ask.

Hope this helps
Salutations - Cheers
Bernard Lebel

[jazzthief]

Thanks for the info Bernard.

I was planning to render and animate in 24 fps, D1 NTSC 720x486 to save render times in MR in SGI sequence.

How does one pull a 3:2 in After Effects? I noticed you mentioned that 2 comps are created which is similar to my workflow. But that's cuz Premiere is sluggish with big files so I somewhat edit the animation in After Efx and render a uncompressed QT. Using Premiere to output to DV.

I'm planning to create two output a master from a Media 100 to a Beta tape. A DV master from Adobe Premiere or Avid Xpress DV.

I guess my question is when I'm ready to render from After Effects. How do I customize my setting for a 3:2 pull from 24 fps to 30 fps. I was told the following from another Soft user. That AFX automatically does a 3:2 by bringing in my footages as 24 fps. Then, create a new NTSC (720x486) or DV (720x480) Comp at 29.97.
drop the 24fps into the 29.97 comp - and Render.
by selecting either upper or lower field first (depending on your output device) -
and lowerfield for DV and most devices.

AE will then AUTOMATICALLY do a 3:2 pulldown to make it work out.
Which I don't need to select the pulldown at all. A 29.97 comp is necessary for it to work automatically.

Does this seem like a good workflow to convert 24 fps to NTSC broadcast safely. I just like to make sure my lip synch animation won't go off synch while pulling this in post.

[atyss]

I strongly recommend that you make tests before doing any final output. Do tests-renders (no shadows, no anti-aliasing, no mb), and then make some renders with different settings in After Effects. Render in Quicktime with Sorenson compression, open this in Quicktime Player and see if everything is right.

Unfortunately I never used pulldown, I always worked in 30 fps. But this is the approach I would use to do it. I checked the AEX documentations and everything seems detailed.

Good luck!
Salutations - Cheers
Bernard Lebel