If it looks bad ONLY in a comp, double-check that the layer is in high-quality mode and not draft mode.
I wish that were the case, that was the first thing I checked. It looks
that way regardless of if it's in a comp or just looking at the footage in
On Thu, Jun 26, 2014 at 2:45 PM, Dave LaRonde <email@example.com>
Show a screenshot of your Composition panel.
Also, show a screenshot of the Footage panel.
Noticed a few things.
- Still don't know if there have been any changes to the footage in the comp because none of the properties of the footage layer are revealed. Try selecting the footage layer and press the U key twice to reveal any changes made to the footage.
- Not understanding the composition size at all. Why is it non standard? 1920 X 817 will NOT work for any kind of standard delivery method AND, if the footage is standard size, 1920 X 1080, the footage will be imported with a default position of 960 X 408.5 causing every pixel in the footage to be re-interpreted and cause a loss of clarity.
- The properties of the original footage are not shown or known. We don't know if the footage is interlaced or what size it is or what the frame rate is.
- You have not given us any information on how you are bringing ProRez footage into a Windows machine. Did you download some 3rd party software to import the footage? If so, what has been installed?
Most likely, the problem is the placement of the footage so that the footage is not precisely lined up on the pixel grid (see item 2). Anything from Compression to 3rd party software could also be causing interpretation problems.
Hi Rick, thanks for getting back to me:
1. I'll make a screen shot and submit it, but absolutely nothing has been done to the composition other than a "create composition from footage." The problem persists in the footage panel.
2. The footage is non-standard, this is because I am applying a film grain to the footage (1920x817 is a 2:35 aspect ratio). I do not want the grain on the black bars below and above.
3. The properties of the footage are: ProRes 4444 10bit, 23.976, Progressive, 1920x817.
4. In the quicktime install on windows it includes the decoder for ProRes, but it does not include an encoder. I have not installed any kind of 3rd party ProRes Encoder or Decoder. The only programs installed on the system from a fresh install of Windows 7 is all Adobe Software and Apple Quicktime.
The problem is probably the comp size. I would work at standard resolution - which is the way you will have to deliver the footage to any standard device, even YouTube and add the black bars as a masked solid on the top layer. That's the way to crop your footage to 2:35.
The only other option is to move the footage a half pixel up in the composition. If you check the position you'll see that it is on the half pixel. That should solve the problem.
BTW, it would not surprise me if the film grain plug-in isn't also adding artifacts that are amplified when you shift the position of the footage a half a pixel.
So I have now brought in normal 1920 x 1080p ProRes 4444 10bit file into After Effects on 3 different machines, 1 the original Windows 7 machine and 2 Macs running 10.9.2
I am having the exact some issues on all machines, I'm wondering if this related in anyway to After Effects interpreting the footage wrong? I'm so confused, as someone who has used Adobe Products for the past 15 years... I'm wondering if this is a leftover bug that Adobe just hasn't resolved?
Maybe it has to do with ProRes 4444's Alpha channel?
(Also no effects have been added to the footage yet)
SO I have figured it out... as I suspected it is After Effects interpretation of ProRes 4444... it looks as though regardless of the fact that I am importing Progressive footage, After Effects is in fact interpreting it as interlaced and only showing one field. I manually modified it via the interpret panel, and it is now being presented correctly.
It seems like a bug to me.
Do you know how to check the footage for interlacing? In my second reply I thought the footage might be interlaced.
Here's how to check.
- Create a new comp from the footage
- Open up the comp settings. Double the frame rate by multiplying the frame rate by 2
- Set footage interpretation to separate fields
- Step through the footage a frame at a time and check the motion between frames.
If you see identical pairs of frames the footage is not interlaced. If the motion is forward and then backward, then forward again the field order is wrong
So was AE automatically interpreting footage as interlaced and separating fields? Did you check for interlacing? I have had hundreds of shots sent to me since we started working with HD footage that the client or the camera operator or the producer said were progressive when, in fact, they were interlaced.