I find that exporting from After Effects is problematic when using a ramp or working with anything that has a gradient of some kind.
...then don't! Sorry, but this is the same old thing: Simple computational math dictates that between points A and B only so many discrete color levels can exist in 8bit color and that any distance beyond 1024 pixels will result in duplicate pixels of the same colors to be adjacent, commonly referred to as banding. Or in other words: You are looking to fix a thing that can't really be fixed, even more so when compression reduces the available color range further. Yes, you can use all sorts of tricks like adding noise or adjusting gamma to minimize this, but it will never go away. The ugly harsh truth is, that it all starts with a flawed design approach and any of that is merely trying to fix things at the wrong and. As I said in my initial sentence, don't use gradients that cover such large distances along just one axis or uniformely colored areas. Ad structure by adding more gradients perpendicular/ at an angle to the main gradient, use subtle color variations, add vignetting or generally use "busy" designs that have more elements or textures that would allow to forego large uniform areas....
Thanks, as always, for the info.
But you speak as though i should know this. If I knew this, i wouldnt be asking for help. And, I am just starting to learn this, with the goal of learning it well, and if i ask a "stupid" question then so be it. It might be annoying to some, but, believe me, I have looked around plenty before i post a question.
But anyway, I am sure that i have seen scenes with a glow or bright light coming out of the fog or something like that. There has to be a way to have a nice large lens-flare like effect you can construct? Obviously I have to go back and look at these examples, so i might be totally wrong, but I am almost positive i have seen this work.
and btw, the color shift i am using in my particular project is not that big. that is why i am scratching my head.
but thx again.
So, if I work and export in 16 bit, will it improve the final render out of premiere and then to the dvd, or will it ultimately go back to 8 bit, returning me to my original issues...or just stay away from ramps...
And/or just export everything using the animation codec and lossless...
If you render to an 8 bit codec then you get 8 bit, but if your source is 16 bit or higher your compression to 8 bit will improve. Banding issues may or may not improve. This all depends on the shot, the movement, the color, and the compression. There's no one size fits all solution to temporal or color artifacts. Big Budget productions going out to DVD are compressed with software that allows the technician to go through each shot and set all kinds of variables to get the best image possible from the shot. Most low budget productions just pick as high a data rate as the playback medium will support and use multi pass rendering. The Adobe Media Encoder does a fine job with most projects if you just use the default settings for your desired delivery format.
If you work at 16bpc and export at 8bpc, you prevent much of the banding because After Effects knows to dither (i.e., add a little bit of noise) on output when exporting to a lower bit-depth.
But, as Rick says, with an 8bpc output, you're somewhat limited.