6 Replies Latest reply on Oct 17, 2011 2:09 PM by KLTV8

    Imported .mov resolution off...work space problem?


      Hi all,


      I have a .mov that was shot on a Panasonic P2 (720x480 SD squeezed...widescreen, 480i) and ingested using the Log/Transfer in Final Cut 7.  Looks great in FCP.  When I take that same source footage and bring it into AE 5.5, it looks blurry and the gamma is off, and it looks (to me) more pregressive than interlaced and very noisy (grainy), and that it's a proxy video...not a full resolution.


      Still shot comparisons:






      Images on the left are the original .mov file...and on the right are what they look like in AE when placed into a comp the same size as the footage.  No effects or anything.  You can see how the light bulb has the jaggies and is blurry, and the man's face in AE is a bit washed out and grainier...like the difference between interlaced and progressive.  Hope I'm describing it in a way you can understand.  And when I do a RAM preview, it looks just as bad.  Same as when I render out using lossless Animation, so when I bring it back into FCP, it looks totally different than the rest of the video.


      Project properties: 8 bits per channel, color management off

      Comp settings: NTSC DV Widescreen preset (720x480, PAR: D1/DV NTSC Widescreen [1.21])


      If I change the Working Space in the Project Properties to SDTV NTSC and check the "Match Legacy After Effects QuickTime Gamma Adjustments" box, the gamma looks a bit better but it still doesn't look as good as the original .mov...still has the jaggies on the lightbulb, and it looks progressive rather than interlaced...which wouldn't be so bad if the rest of the video wasn't interlaced.


      When I create motion graphics with the same project properties and comp settings, everything looks perfect.  Is this a working space issue, and how do I solve it?


      Thanks in advance.



        • 1. Re: Imported .mov resolution off...work space problem?
          Dave LaRonde Level 7

          About the jaggies: if you have the pixel aspect ratio compensation switch toggled on, the comp window will be in the proper aspect ratio (16:9), but you get the jaggies.  If you toggle the switch off, the video in the comp window looks squeezed horizontally, but smooth.  When you render, it will be smooth and it should be in 16:9.  It's one of those things you have to take on faith.


          Reserve your judgement on the gamma until you bring the rendered AE clips back into FCP.


          Another thought: if you shot 24p, did you remove the pulldown before your AE work?

          • 2. Re: Imported .mov resolution off...work space problem?
            KLTV8 Level 1

            Thanks for the quick reply, Dave.


            Unfortunately, the PAR compensation switch is not on.  I am monitoring externally on a JVC broadcast monitor, so I don't ever turn that switch on (I've dealt with it before before I had an external monitor, so I understand what you're talking about).  The above captures (on the right) are from the rendered video...they look that way brought into FCP, played in a QT viewer, etc.  The video after imported into AE and then rendered from AE look exactly the same.


            I want to think it's an import issue or a project settings issue, but I don't know.  As I mentioned, I don't know a lot about Working Space/Color Space...only that when I change the working space to SDTV NTSC, it doesn't look any better.  I only have this problem with video I bring into AE.




            EDIT: Sorry...didn't see your last thought...I did not shoot 24p...this was 480i.

            • 3. Re: Imported .mov resolution off...work space problem?
              Dave LaRonde Level 7

              The next thought that comes to mind is a field order issue.  The footage needs to be both interpreted and rendered as lower field first.

              • 4. Re: Imported .mov resolution off...work space problem?
                KLTV8 Level 1

                OK, so we're making progress!


                So when I checked the interpretation of the clip, it was already on lower field first, but I didn't have the "Preserve Edges (Best Quality Only)" box checked, which took care of the jaggies. Thanks for pointing me there, Dave.  I'll make sure it's that way in the render queue as well.


                Now, I hav to figure out why it doesn't "look" interlaced...it looks progressive.  Maybe it's just me (which it probably is).  You know what I mean...the example I usually give is the difference when you're watching "The Cosby Show" vs. "Cheers"...one's taped, the other is filmed.  I'll check the calibration of my external monitor as well.


                Other than that, I'm happy.



                • 5. Re: Imported .mov resolution off...work space problem?
                  Dave LaRonde Level 7

                  KLTV8 wrote:

                  Now, I hav to figure out why it doesn't "look" interlaced...it looks progressive.


                  Was the camera set to progressive scan?  If it was, it will record two fields from the same instant in time, making the footage look progressive.  The HVX 200 at my station can do that -- it's interlaced footage, but still progressive.  Once you bring it into AE, you have to interpret the field order as None and render no fields if you make motion graphics that need to have motion that matches the footage.

                  1 person found this helpful
                  • 6. Re: Imported .mov resolution off...work space problem?
                    KLTV8 Level 1

                    I'll take a look, Dave, but I'm pretty sure it wasn't set to progressive scan.  In FCP it looks "interlaced" or "live" and definitely not progressive (when I view it on the external monitor).  I didn't know the HVX 200 can do that in the first place.  Good to know.  Good tip on the motion graphics as well.