moving between fcp and AE
- Thread starter aalleexx
- Start date
CaptainMench
Carbonite Member
Don't you have the same codecs in AE that you captured with in FCP? What is your capture/edit codec inside FCP???
Do it that way.
CaptM
Do it that way.
CaptM
CaptainMench
Carbonite Member
Heavy is as heavy does.
What are you planning to EDIT them with? DVCPRO HD? ProRes?
Come on... you should know this. All part of the pre-planning process.
CaptM
What are you planning to EDIT them with? DVCPRO HD? ProRes?
Come on... you should know this. All part of the pre-planning process.
CaptM
CaptainMench
Carbonite Member
That's NOT what you asked!!!
So -- now, what did you do inside AE that makes want to bring it back to FCP in some other codec?
Why not dvcpro hd?
CaptM
So -- now, what did you do inside AE that makes want to bring it back to FCP in some other codec?
Why not dvcpro hd?
CaptM
zoostory
Well-known member
If you want absolutely no loss, use animation, uncompressed.
If you want something that no one will ever tell the difference of, use ProRez.
If you don't care and don't want to render again in FCP, export at DVCproHD. If you are making DVDs and such, no one will tell.
If you are using AE CS3, make sure to go into your project settings and disable AE's stupid Color Profiling (Use Legacy Settings check box) or all your footage will be about 10% darker in FCP, thanks to some awesome metadata switch that the new CS3 turns on.
If you want something that no one will ever tell the difference of, use ProRez.
If you don't care and don't want to render again in FCP, export at DVCproHD. If you are making DVDs and such, no one will tell.
If you are using AE CS3, make sure to go into your project settings and disable AE's stupid Color Profiling (Use Legacy Settings check box) or all your footage will be about 10% darker in FCP, thanks to some awesome metadata switch that the new CS3 turns on.
grahamdunn
Active member
Stu Maschwitz (http://prolost.blogspot.com/) has written about this a bit.
He suggests that basically you take your footage in Final Cut, and look at the waveform. If anything is over 100 IRE, you should lower its levels (you set a layer of black below the video, then turn down the video's opacity a bit until the levels are 100IRE or below). Now you've preserved your superwhite values.
In Sequence-->Settings, change the checkbox to say "Render in best YUV" or something like that (the bottom button). Now you're in 32 bit float, so maximum color range is preserved.
Then export a Quicktime, but don't use a preset, just say "custom" and change it to Uncompressed 10 bit (don't use the preset one or your HD will be resized to SD). These are BIG files, but are lossless and preserve all of your highlight data etc.
Send them back to FCP from AE using this same uncompressed setup and you will cut your losses. Hope that makes good sense...
He suggests that basically you take your footage in Final Cut, and look at the waveform. If anything is over 100 IRE, you should lower its levels (you set a layer of black below the video, then turn down the video's opacity a bit until the levels are 100IRE or below). Now you've preserved your superwhite values.
In Sequence-->Settings, change the checkbox to say "Render in best YUV" or something like that (the bottom button). Now you're in 32 bit float, so maximum color range is preserved.
Then export a Quicktime, but don't use a preset, just say "custom" and change it to Uncompressed 10 bit (don't use the preset one or your HD will be resized to SD). These are BIG files, but are lossless and preserve all of your highlight data etc.
Send them back to FCP from AE using this same uncompressed setup and you will cut your losses. Hope that makes good sense...