XDCam footage exported from FCP to After Effects and back to FCP stutters

I need help. Here is the situation:
XDCam footage imported into Final Cut with the Sony Import Software 25 mpbs. Final Cut sequence is set up to match all settings. The footage is placed into the sequence fine, I can edit with no problems everything works great. The problems start when I export from Final Cut to bring it into After Effects 7.0.
I drag the imported footage onto the comp icon to create a new comp with the footage settings. The footage is being interpreted as upper field first. I render out the footage using the HDV codec that matches my sequence in Final Cut. When I import the rendered movie into Final Cut it causes the whole system to bog way down. Not just dropped frames but a serious amount of bog down, I even get the spinning Beachball for a few seconds while its trying to play. It should be noted that when I place the rendered movie in the sequence it doesn't seem to need any rendering. Now, here's the weird part, when I play the rendered movie using just the quicktime app. It plays just fine. The problem only seems to be with Final Cut.
any suggestions?

Hi,
I was having the same problem. After studying the mov as rendered by AE it would seem that there's something odd about the framsize. It would seem that AE's HDV preset is incompatible with FCP for some reason. There's probably a perfectly reason tech explanation for this but I don't know it.
I was told by a friend to always render 'intermediate codec' which I intend to do in future.
As a short-term measure just run the files through Compressor, that did the trick for me.

Similar Messages

Best way to go from FCP to After Effects and back?

Hi guys,
What's the best way to go from FCP (5) to AE (7)? I'm exporting as a Quicktime Movie, but not self-contained. Then from AE I make a Quicktime Movie
and drag it back to FCP.
Is this the best method?
Thanks
G5 Quad Mac OS X (10.4.6) Dell 2405

Thanks Cap'n, but am I losing any resolution this way? And should I be including or excluding markers?
That is one rich little duck! :P
G5 Quad Mac OS X (10.4.6) Dell 2405

Trimming HD video files for export from Windows to After Effects on a MAC

Hi,
I have some .MTS files created using 2 HD camcorders:
1) Panasonic HDC-TM700 which shoots full HD @ 1920 x 1080 and
2) JVC Everio GZ-HM550 which shoots the same HD resolution
I am working with PP CS5 on Windows 7
I need to trim some small pieces (5 -10 seconds) out of many of the .MTS files to send to someone using After Effects MAC and FC Pro
In trying to keep the highest HD resolution of 1920 x 1080, the number of choices to select when creating a new sequence and then when exporting from PP is confusing.
Note: I notice that 2 clips I have in my PP project bin at the same time have different frame rates which I believe that 1 each came from my different cameras:
file 1) 29.97fps 48000hz compressed stereo
file 2) 59.94fps 48000hz compressed 5.1
Can anyone guide me here on sequence and export settings & codecs to maintain the HD resolution and least loss of quality on export?
Will the 2 different frame rates prior to export cause any issues? I'm assuming PP will re-interpret for output.
Thanks

> I understand the files are not compressed.
You misunderstand. The files are compressed. But they're compressed without losing any information. Losslessly compressed movies are a lot smaller than uncompressed movies---but they're still bigger than movies compressed with a lossy codec that would be more suitable for final delivery and distribution.
> How long are the movies your associate sends you and approx what do file sizes look like?
I tend to work on individual clips that are from several seconds to a few minutes long. They're usually a small number of GB each. Don't fret about large file sizes for intermediate files. Making movies small matters when you're streaming them for final delivery, not when you're handing over a hard disk or using an FTP server to exchange files for post-production work.

Export from Flash to After Effects or Illustrator?

So I was given a Flash puppet from someone that animates in Flash. I wanted to take that file with it's layers and use it in After Effects. How can I do this? The file is Flash CS5 but I'm using all CS6.

THANK YOU!!!! It was at 30 FPS, I was spending hours importing a new PNG sequence 1 frame extra at a time trying to fix it!
Totally fixed the issue.

Pixelated Font out of After Effects and in the FCP timeline

I've posted this questions before, but I'm still having trouble. I create an animation is After Effects that is composed of a layer Photoshop file. Looks fine in AE and when I play the exported movie on my desktop. See below.
I put it on the timeline in Final Cut and Voila! this:
The font pixelates. In addition, I'm getting pixelated font in my layered photoshop files in my timeline. This is an issue I cannot recall having in the past.
I was advised on my last post for this issue not to use the DV-NTSC codec to export from After Effect but no matter what I use I get the pixelation once I put it in the Final Cut timeline. So is is possible that the issue lies with something in my layered Photoshop file? This is ultimately going to play on a 12 foot high screen so there no hiding even a minor lack of quality. Help!
My After Effects is version 6.0
Thanks for anything you can do!

What are the properties of the clip from Ae?
These are my export choices and I've tried DV-NTSC which matches the final cut settings and under advice from this forum the Uncompressed 10-bit and H.264. Same pixelated font but only in the FCP timelime. Plays fine in Quicktime on the deskstop with no pixelation on the font
What are your Sequence settings in FCP?
DV-NTSC
Did you render the clip on the FCP Timeline?
Yes, didn't make a difference
The Final Cut Pro canvas shows you a low res proxy. That conserves resources and should not be what you use to determine quality. Export the clip and view it in QuickTime Player 7--Play beautifully....no crappy font.
(not QT X). Make sure QT7 is set to use Hi Quality Playback (in the Preferences dialog). Better yet, view it on a TV set.
Views on the TV as pixelated.
The typeface that you are using. While elegant and pretty, it is very unsuitable for television--Yes, absolutely agree, but it's a client produced photoshop file that matches the invitations for the Gala. They may allow me to change the font to something close, but even those fonts would probably create the same problem.
Considering using text font in Final Cut to solve the issue, but I just don't want to "say Uncle" just yet. I would like to figure out the problem. I feel like I exist in a constant learning curve...just commentary of life in today's world there.
Once again, any suggestions would be appreciated. Plus I don't understand why my photoshop files look terrible in the timeline as well. I just haven't had that problem before.

Can't import and export MPEG2 files in After Effects and Premiere Pro.

I don't know when started, but a few days ago my Premiere Pro and After Effects don't recognise MPEG2 files.
When I try to open a Premiere Pro with a MPEG2 file in it: "This project contained a sequence that could not be opened. No sequence preview preset file or codec be associated with this sequence types"

Just to verify that the files are not corrupt...
Report back with the codec details of your file, use the programs below... a screen
shot works well to SHOW people what you are doing
http://forums.adobe.com/thread/592070?tstart=30
For PC http://mediainfo.sourceforge.net/en or http://www.headbands.com/gspot/
For Mac http://mediainspector.massanti.com/
Also... does your PPro show the option to de-activate? (having the de-activate option available means your version has not "lost" activation)

Import a FCP project into PP and back to FCP

Hi all,
my first post, so bear with me.
I have a client that uses FCP(version unknown, I am assuming it is x). Since I do not specialize in video, I do not own FCP (thought of it as unnecesary, I use PP...). He wants me to edit the video (simple stuff, voice layover, cutting a bit here, cutting a bit there) and then give it back to them. However, it is important for them to be able to import the project back to FCP so they can make any changes or add sensitive material, if needed.
Also, is the FCP free trial a full version for 30 days, or a trial version with a nasty watermark or non-working functions?
Is this possible?

Your best avenue for exchanging between FCP and Premiere
is by exporting / importing .XML or .AAF files.
Premiere Pro / Exporting projects for other applications
http://help.adobe.com/en_US/premierepro/cs/using/WS1E3E2208-8384-42fd-822B-8F07F2E5438Fa.h tml
Premiere Pro / Importing XML project files from Final Cut Pro
http://help.adobe.com/en_US/premierepro/cs/using/WSd9957a95a81082eb28f05af5126718c47be-800 0.html
Also, is the FCP free trial a full version for 30 days, or a trial version with a nasty watermark or non-working functions?
¯\(°_o)/¯
A question for their forum.

Quicktime playback bright and gray, compared to FCP or After Effects

OK, this is so confusing, I have been working with Quicktime for years but I can't seem to resolve this issue:
I bought a MacPro (Xeon) and for some reason all the clips I create in Final Cut Pro or After Effects don't play back correctly in Quicktime. That is, unless I use the 'Animation' codec, then they play fine. But the strange thing is, whether I use DVCPRO HD, DV, or H.264, they all play back too bright and gray in Quicktime. But when I import that same file into either FCP or After Effects it looks like the original composition.
SO- the color is there, it just doesn't play back properly in Quicktime. The truly strange thing is that I tested the same clips on my other Intel and my G5 and the clips play back fine on those. After reinstalling Quicktime the same issue persists on my Mac Pro.
Any ideas why this might be happening??
Thanks in advance to the wizard who can help me clear this up!
2 x 3 GHz Dual-Core Intel Xeon Mac OS X (10.4.8) A Waning Positive Outlook
2 x 3 GHz Dual-Core Intel Xeon Mac OS X (10.4.8)

This works out fairly well. I'll give you two options on one stage of it:
1. Go to the first frame of your troublesome movie, Command-B to Select None, then do a Copy.
2. Open Preview.app, Command-N to make a new document that looks a lot like that frame you just copied. Once you see it, do a Copy.
3.1. In QuickTime Player, Command-N and Command-V to make a single frame movie of that image.
3.2. A different way, do a Save from Preview, to make a JPEG. Open that JPEG in QuickTime Player, Option-Right Arrow to get to the end.
4. Go to the original movie, Select All and Copy. Back to the new movie, do a Paste.
At this point you either have a movie that is Video compressed for the first frame, or JPEG compressed, depending on whether you did 3.1 or 3.2. In most cases I would choose 3.2.
Do a Save As, Self Contained, and you should have a movie where the first frame gets repeated, and the movie is forced into RGB mode.

Is it possible to make is so that, immediately after I import a new clip into FCP, the file is automatically selected in the Event Library? (Similar to how After Effects and Premiere work).

Is it possible to make is so that, immediately after I import a new clip into FCPX, the file is automatically selected in the Event Library? (Similar to how After Effects and Premiere work). Right now, after I import a new file, I have to then go searching for it amid all the other files in my project. It would be extremely helpful if the file I just imported was already highlighted and selected after import, making it instantly "locatable" and ready to go.

Kryan73 wrote:
… after I import a new file, I have to then go searching for it amid all the other files…
in a perfect world, you do know the recording date, and you simply scroll to that date.
in a very perfect world, all your other imports are already tagged, so just have to create a smart list 'unrated' ...
(I know those messy Events… a friend of mine constantly ignores my advice to check the time/date on his camera; on every battery swap, the cam creates a very erratic timestamp ... his actual recordings are listed as made in "2004" or in "2020" .... )

What is your Premiere, After Effects and SpeedGrade Workflow?

Hi Everyone,
I am an experienced editor who's switched to Adobe's CC barely a year ago. At the moment I'm in the midst of finishing up a corporate project and trying to think of the best workflow between Premiere, After Effects and SpeedGrade. I'm loving the Dynamic Link workflows, but at the some time I'm facing some obstacles, and am wondering how you guys do your work.
Let's say I finished the edit of the project and send the project via Dynamic Link to SG. I finish the grade and then decide to use the Dynamic Link to AE to add some titles with shapes and effects such as Fast Blur. This is where I'm facing the first problem. When I choose a clip to be 'Replaced with an AE Composition', the color correction is gone, and now if I grade in SG, it will naturally grade the titles I added. So, it seems as though my color grade is a waste of time and I have to do it the old school way of first absolutley completing the color grade, exporting, re-importing and then heading for titles and effects. That makes you lose quite a bit of "dynamics" in your work (and time aka money), if my clients want changes for example.
For simple animations with text, and shapes, this is not a big issue since you could easily add the titles to a second Video track. But when you use After Effects which changes the acutal image of a clip by adding effects, things don't work out too easily. But in any case, these might just be the limitations to the relativley new Dynamic Link workflow.
In my specific example, how would you go about it? What is your workflow? Maybe I'm missing out on some tips & tricks.
Be happy to hear from you guys and maybe get some expert knowledge.
Best,
fabian

Hey there,
I'm also looking for a solid workflow solution since adopting (and actually really liking) Speedgrade. So below is what I'm going to try which should work and will follow this thread to see if any other workflows pop up. Also typing this out here to help me with plan of attack
Project Specs - 3 minute corporate video with text animation, interviews, broll, and computer screen replacement
Edit in Premiere
Dynamic link to SpeedGrade for color correction
Open back up in Premiere, confirm all color corrections are applied, and then duplicate sequence to an AE Prep extension
In AE prep sequence, take all AE "base" shots (for computer screen composite or anything needing stabilization) up onto their own track (i.e. V5 & V6)
Add 10 frame handles to in & out, checkerboard clips as needed
Delete all other remaining content but keep blank spaces / no ripple deletes
Export this out to a ProRes4444 QT movie
Import ProRes4444 QT movie back into premiere, add over existing video layers in AE Prep extension sequence, and then there time out the screen shot replacement content to cover effect duration
Dynamic link AE Prep Premiere Pro sequence to AE
Do the AE work
Dynamic link back to Premiere
DoneHopefully
This was my similar work around back in the day before I had Automatic Duck in FCP to AE
Hope this helps anyone else - if there are any glaring "why would you do all that" points - please let me know I'll also report back if there are any horrible roadblocks throughout the process.
_Christina

CS5 After Effects and Premiere Pro

I am using CS5 After Effects and Premiere Pro with footage from a Canon 5D Mark III. Shooting/editing 1080p 24 (or at least their version of it). What are the best render settings/codecs to use to export from AE for import into Premiere Pro other than the animation codec or Pro Res? I dont have Pro Res and the animation codec is great but the file size slows down the app. Thx in advance.
Or a few resources to explain the whole codec/export/bitrate/etc issue once and for all for different situations wether it be brodcast or internet or simply burning a dvd to play on a HD TV. It is almost like this is some kind of secret no one will tell...LOL...i cant find a difinitive answer anywhere.

As is stated above there are Production codecs which can be lossless, nearly lossless, and at higher bit depth. Production Codecs include Uncompressed (huge files but fast do decode and will not playback in real time) Editing Codecs like Black Magic, Avid, ProRez, and others that are smaller, can still be lossless, may support alpha channels and higher bit depths, and Archival Codecs like Microcosm, JPEG2000, PNG, which support alpha channels, are lossless, and on some systems, will playback in real time.
Editing codecs are specifically designed to be played back in a NLE. These are good choices for a Premiere Pro / AE workflow. So are Archival Codecs. If your project involves a lot of sharing of files between users and apps, then pick a format common to everyone that is at the highest bit depth your storage system can accommodate.
There are also image sequence formats. These include PSD sequences, TGA, TIFF, PNG and others. Some support higher bit depth (32bit Float). Image Sequences work great, have advantages when it comes to correcting just a few frames here and there, and are used to a great extent in professional production pipelines. They are much more flexible than video but they have a distinct disadvantage when it comes to keeping track of the files and keeping things organized.
Then there are delivery codecs. These are designed for playback. They are not suitable for production because delivery codecs use GOP compression, are limited to low bit depth, and are not lossless. IOW, if you render to a delivery codec, then you process and render again to the same codec the artifacts start to build up. H.264 for example, after just 2 or 3 passes, even at very high quality settings, falls completely apart.
Consumer and ProSumer cameras use delivery codecs for image capture. Your Cannon 5D does. This is OK, and it's the only option you've got with some cameras, but the best workflow for these types of capture systems is to transcode the footage to a production codec before you do anything. Production codecs will render faster because it takes less time to decode the footage for processing. You should never render AVCHD or MPEG footage back to the same codec. Always use a production codec until you're project is ready to archive and deliver.
One note on ProRez on Windows. This is not a good idea for production. You cannot maintain proRez native 10bit color space. You should not render to ProRez using 3rd party workarounds because you're just building a proRez container for a windows compressed video. Sure, it will playback on a Mac, but the actual image will have lost important detail and color depth.
Let me give my humble opinion on Dynamic Link. This works great for a shot or two in a Premiere Sequence. This works great for working with Audio in Premiere and Audition. This works great for rendering for delivery or even production using the Adobe Media Encoder. Did you note my second sentence? Dynamic link between AE and Premiere Pro for a few shots in a sequence is a good idea and a time saver, but if you're cutting a film that's over a few minutes, each scene should be it's own sequence. If the scene has more than just a few shots that need to be processed in After Effects then using Dynamic Link can easily become a monster you don't want to deal with. The key to efficient post production of an effects laden production is planning. You've got to cut for story first, then produce your effects shots with sufficient handles (extra frames) to allow some fine tuning, then recut the final. Any other workflow on a long project is just wasting time.

MacBook Pro 13 inch (mid 2012) v MacBook Pro 15 inch (mid 2014) for After Effects and Premiere

Hi everyone,
I'm interested in working with After Effects CS6 and Premiere CS6 probably creating quite heavily layered files and experimenting with and combining effects. (I also work with Photoshop and Illustrator.)
My workplace allows me to use a 2.5 GHz Intel Dual Core i5 / MacBook Pro 13 inch (mid 2012, non retina) with hard disk and integrated graphics card (Intel HD Graphics 4000 512MB). I understand this Mac can be maxed out at 16GB of RAM. (Official Apple specs I realise say 8GB RAM is the max for this computer but I've looked into this thoroughly and have confirmed that 16GB is in fact possible.)
I'm considering purchasing one of the new Haswell based MacBook Pro (mid 2014) models for myself.
If I do, I'll get the retina 15 inch / Intel Quad Core i7 / 16GB RAM / Intel Iris Pro Graphics / NVIDIA GeForce GT 750M / 1TB Flash Storage.
I realise there is a big difference between these two machines in terms of their specs - the 15 inch with the dedicated GPU will be far more suited to motion graphics work than the lower spec machine with integrated graphics card.
Currently, my understanding is that After Effects CS6 and Premiere CS6 do not support the NVIDIA GeForce GT 750M but from research on the net I believe it's possible to add this video card to the list of supported cards within the respective applications, forcing them to recognise and use it.
Having read about the upcoming Broadwell chip, which I think may be capable of supporting 32GB RAM (possibly coming in Q2 2015 from the various websites I've visited) I wonder if it is worth holding off my purchase, and maxing out my older 13 inch laptop in order to run After Effects and Premiere for the time being.
If I waited for Broadwell based 15 inch MacBooks I think its likely they'll be expandable to 32GB RAM, making the computer a better long term investment.
eg if Adobe increase minimum/recommended memory requirements for their software in the next few years. While I don't know for sure this will happen, it does seem quite likely at some stage. The 2014 15 inch MacBook - while an excellent computer at the moment - could potentially be slightly limited with regard to future Adobe software releases as its max RAM is 16GB.
I realise I could potentially look at a high end iMac if memory is a concern, but I prefer the portability of a laptop so I'm restricting myself to portable options for the moment.
What I'm wondering is -
If I install the 13 inch 2.5GHz i5 laptop with 16GB RAM as is possible, how would it perform when running After Effects and Premiere? It currently has 4GB and it very quickly runs out of memory meaning playback of goes very slowly when previewing complex files in the timeline. This necessitates rendering of small test sections of the timeline to see it at the correct frame rate. Would the move from 4GB RAM to 16GB RAM give me a noticeable improvement in this regard? If so then this is tempting as I don't have to pay for it - I think my workplace will cover the cost of extra RAM. And then I can wait till next year to buy my own high end laptop.
The 15 inch 2.8GHz i7 quad processor has Iris Pro and dedicated NVIDIA GeForce GT750M with 2GB RAM. I would be paying the full cost myself.
I realise rendering would be faster with this Mac but would I see a noticeable improvement over the maxed out 13 inch laptop when previewing multi layered After Effects and Premiere compositions / sequences within the timeline? I like the idea of being able to preview footage in real time as I'm editing as it saves time and I think it makes the process easier generally.
Any thoughts welcome and thanks very much in advance for your time and advice.
Kind regards,
John

"It currently has 4GB and it very quickly runs out of memory meaning playback of goes very slowly when previewing complex files in the timeline."
"In this case yes, I can most certainly see a performance increase as your machine is still not too old and a RAM increase will help it for sure I just can't tell you by how much.
I own the same machine as yours (except for mine having 2.9ghz and i7, and 8GB of ram) so I think it's safe to say for me that the RAM increase will help you for sure."
That statement of mine answers your question you just asked

Is there an easier way to work with adobe after effects and final cut pro x

I use adobe after effects and I am thinking about deleting motion and compressor ( I can always install again). If you have a good reason to keep those apps let me know because I don't want to be hasty. If I delete them and stick with after effects and final cut pro... Is there a secret to easy working between FCPX and adobe after effects?
Thanks

You'll go from FCP X to and from Motion a lot easier than AE. Motion does pretty much anything AE does, most of the time faster and easier. Without Motion, you can't do custom templates. You can't customize the encoding of files without Compressor. Why would you want to remove them from your system? Leave them, use AE if you want along side of them. But I'd learn Motion first. Cause AE doesn't read FCPXML, so going back and forth between them is a PITA.
And until Apple releases the round trip between FCP X and Motion fully, we have this gem:
http://www.alexnking.com/2012/02/20/fcpx-send-to-motion-app/

Rendered clips play in After Effects and Premier, but not in Speedgrade

Hi,
I am very new to the world of Speedgrade, and have started running some tests, but hit a brick wall right at the get go. I have an After Effects project, that has a few layers, some are filmed footage, some are photoshop images etc. there are also a few plugins used (Lens Flare, Particulare etc). I render this comp out to two outputs, 1 - Quicktime JPEG2000 Intermediate (Highest quality settings) and 2 - Quicktime DNxHD Proxy (Lowest quality settings). I can import and play bot these exports in After effects and Premier, but when I take them to Speedgrade, I dont get playback.
Here are screenshots:
After Effects footage settings:
Visual of the smoke in After Effects of the imported render:
The same file imported into sSpeedGrade:
Is this something that can easily be explained?
Any advice would be appreciated.
Pierre Devereux

Hi Joost,
Thjank you for your feedback. I have submitted a bug-report as you suggested. I will find another workaround for now, probably doing most needed colour work in After Effects directly for now.
Thank you
PIerre Devereux

PC for Render with k5000 Quadro for after effects and premiere

Hello,
I am filmmaker and I use adobe after premiere and adobe after effects for visual effects, also I use cinema 4d and Maya for 3d work, I need to get the best GPU to give me real time in premiere cuda and also good 3d ray-traced in after effects, also I use 3d maxon cineware plugin in after effects cc 2014 for my 3d composition.
I need Good GPU to handle 4k RAW footage from Red epic camera in adobe premiere and after effects
Also i am planing to buy the following:
1- ASUS P9X79 LE LGA 2011 Intel X79 SATA 6Gb/s USB 3.0 ATX Intel Motherboard
2- Intel i7-4930K LGA 2011 64 Technology Extended Memory CPU Processors BX80633I74930K
3- WD Black 4 TB Desktop Hard Drive: 3.5 Inch, 7200 RPM, SATA III, 64 MB Cache, 5 Year Warranty - WD4001FAEX (for Storage)
4- Samsung Electronics 840 EVO-Series 250GB 2.5-Inch SATA III Single Unit Version Internal Solid State Drive MZ-7TE250BW (for system Boot)
Planing to buy K5000 from amazon for 1599$, check please and advise
http://www.amazon.com/NVIDIA-Quadro-K5000-Graphics-PNY/dp/B009L8E4UO/ref=sr_1_1?ie=UTF8&qi d=1407996945&sr=8-1&keywords=k5000#customerReviews
My Question about k5000 :
     Is this item k5000 above from amazon for PC or mac? because is not mention in description
   Is this the best GPU for my usage for adobe permiere and after effects and 3d apps?
    If there is cheaper GPU and will give similler result for my adobe software? please advise
Amazon k5000 price 1599$ there is cheaper place and trusted.
Can i take cheaper CPU and GPU and will give me what i need? or this is best selection
please any advise

yes i plan to buy 64 GB 1600mhz, Kingston HyperX Blu 8GB
and for HDD i select this WD Black 4 TB Desktop Hard Drive: 3.5 Inch, 7200 RPM, SATA III, 64 MB Cache, 5 Year Warranty - WD4001FAEX
http://www.amazon.com/gp/product/B00A2IM76K/ref=ox_sc_act_title_4?ie=UTF8&psc=1&smid=AQ2KN WSHKTD2T
i don't know how to use raid configuration and what the benefit
and can you advise me what to buy K5000 or GTX titan black

XDCam footage exported from FCP to After Effects and back to FCP stutters

Similar Messages

Maybe you are looking for