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Just use the presets. The preset picks the par and frame rate for the comp. Don't mess with them unless you know exactly what you're doing.
If there's video footage involved or stills (photos) then you have to know exactly what the specs are. After Effects can misinterpret frame rates, pixel aspect ratios and interlacing of standard frame sized images and footage. Generally AE is right, but DV codecs don't usually contain PAR info so widescreen footage could be misinterpreted as standard 4X3 and stills that are sized to standard non square pixel frame sizes, like PAL, NTSC, or some flavors of HDV may be mis interpreted as rectangular pixels with they are actually square pixels. Let me say this one more time. You have to know what kind of footage you have before you go messing with file interpretation.
I prefer to work in square pixels. You'll have to ask the client what codec and settings they want for delivery. There are so many options that you'd be crazy to guess.
I dont use any footage, it´s just a psd-background with text and some logos fading on top of it.
If I use pixel aspect ratio: anamorphic (they want anamorphic footage so I guess I should have this turned on in comp settings?), the film looks squished if I dont use pixel aspect ratio correction. But I guess that doesnt effect the rendering?
No such thing as PAL anamorphic. There's only PAL DV(4X3 basically) or PAL Widescreen (16X9 basically) or their square pixel equivalent. There's nothing to keep you from letterboxing the widescreen comp to get a picture that's 2.35 or what ever widescreen frame ratio you want. PAL's final output will always be 720 X 576 pixels and 25 fps and standard (1.09 PAR) or widescreen (1.46 PAR) because that's what a PAL system is. Both of these frame sizes must be converted to square pixels to remove the distortion when played on a computer monitor.
I'd do all the production in square pixels and only use PAL frame size for final output using the AME or Encore. You'll be much happier with the result.