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Always use the final output parameters as your guide to creating the job specs. Working at a different resolution and then converting is likely to result in a mess - don't do it to yourself.
So create your job using the 1998 x 1080 specs you have. You can, of course, spend most of your AE design time using lower preview resolutions. I often preview at 1/4 res when doing stuff for cinema.
You can also keep the project at 8 bit until render time, then switch to 16 bit. Be warned that switching to 32 bit is likely to change the look of some stuff, so if you plan to render at 32 bit then you should work with it all the way through.
Definitely render progressive, not interlaced, for cinema. Yes, use Motion Blur like you would for any other project. Presumably your output will run at 24fps. Make sure any audio will be mixed for cinema, or it will sound flat and lower-level than it should. My cinema stuff is always delivered as 16-bit TIFF image sequences - check with your facility to verify what they prefer.
Thanks for clearing that up and for the good advice, I will work at the output resolution as you suggest. The audio is another issue again, this is a 30 second trailer and the technical guy at Pearl and Dean said that the audio should be at 48K and 24 bit and should be timed at 24fps. I am not sure how to do this, I figured I would create the wav file at the specs he recomended and run it alongside the project in AFX. As to timing it, because interleaving isn't possible I figured the transfer guys will time it to sart at the beginning of the TIFF sequence. I realise how ignorant I am of the processes involved, do I need to format the wav in a particular way? They have also asked for a seperate vox track. Do I normalise to 0dbv and let the transfer people deal with sound levels? Sorry I don't mean to overload you with questions you have already been very helpful.
No problem at all.
As you say, just use a 30 sec audio file to work with as you normally would. If they've asked you for separate tracks, they are obviously going to do a remix. That's how all my work is done - I provide separate stereo tracks for music, sound fx (if there are any) and voice. Personally, I provide them as a ProTools session, but you can just provide the wav files as is. Check with the engineer as to whether you should normalise or not. But if you're paying for all this, take the remix cost into consideration when budgeting.
> Andrew Yoole - 4:30am Feb 22, 09 PST (#1 of 3) Edited: 22-Feb-2009 at 04:31am
> I often preview at 1/4 res when doing stuff for cinema.
so i'm assuming you're a Tiler :)
for christs sake how do you ever want to have accurate preview when you work in 1/4 resolution with motion graphics?
i'm not even talking about RAM preview at 1/4, i'm talking bout comp resolution itself when it comes to work in a heavy composition with filigree designs, fine lines and so forth - waiting minutes till you have a clear preview after moving something just a few pixels into another direction.
this is BS!
You quoted my point, which includes the word "often", not "always". Switching preview resolutions is as easy as a single mouse click when required.
I assure you Thomas, I make quite a few cinema commercials, and the repeat business suggests to me that my clients don't consider my work or workflow to be "BS". I once again find myself requesting that you try to show some restraint in such outbursts - please keep your posts respectful to other posters. We're all here to help.
it wasn't anything against your person and i did not declared your worlkflow to be "BS" in any way!
Be sure that if you read any complaints from me in Adobe forums it just belongs to the software we're all working with and earning our bucks.
I'm not often here, so accept my comments as an outcry to comfortless workarounds and as an slightly attempt to kick *****.
BTW: Rest assured, i don't hate people
Have you an alternative work-around then Thomas, or did you just drop by to criticise Andrew?
i regret my post because some people got it in the wrong throat, not getting my point.
The way you have to deal with massive pixel dimensions previewing in AE is uncomfortable BS! Why? Because there is no other workaround if you work on color sensitive projects, respectively if you have to care about a specific look or given Color-LUTs.
I'm trying to render Proxies from time to time, but i barely use them because of the already mentioned circumstances above.
First, still all the RAM and OpenGL drawbacks, second, the software creates a fork stuck in the road.
Mitchell, I would suggest talking with people who handling the digital cinema conversion. I know for Dolby Digital Cinema, they prefer Cineon files or 16-bit TIFFs in HD Rec709 color space. But each digital cinema system probably has their own preferred format and color calibration. And there are different pixel dimensions for Flat and Scope presentations. But again, talk to your digital cinema handlers. In my experience, they want to help you get the best looking footage possible and are very knowledgeable.
Digital Cinema is very much like working with 1080p footage. Reduce your resolution and use proxies when building early motion, then move your resolution to full and use Region of Interest as you add detail.
This is where an 8-core machine, lots of RAM and a fast RAID really come in handy. I can't imagine trying to 1080p on a dual core, 2GB box.