October 23rd, , AM Nate Weaver. Hell, that's 2 batteries. Personally, I'd just get the camera, and scavenge the codec later. It's not THAT difficult to get your hands on. October 23rd, , AM Alister Chapman. But you will need a decent drive array for uncompressed HD. You can get FCP pretty cheaply if you shop around for an old version, say version 4 ebay?
DV Info Net refers all where-to-buy and where-to-rent questions exclusively to these trusted full line dealers and rental houses Your Name. Each motion-footage item in a composition can also have its own frame rate. The relationship between the footage-item frame rate and the composition frame rate determines how smoothly the layer plays.
For example, if the footage-item frame rate is 30 fps and the composition frame rate is 30 fps, then whenever the composition advances one frame, the next frame from the footage item is displayed. If the footage-item frame rate is 15 fps and the composition frame rate is 30 fps, then each frame of the footage item appears in two successive frames of the composition. This assumes, of course, the simple case in which no time stretching or frame blending has been applied to the layer.
Ideally, use source footage that matches the final output frame rate. This way, After Effects renders each frame, and the final output does not omit, duplicate, or interpolate frames.
If, however, the source footage has a frame rate slightly different from what you want to output to for example, fps footage and Conforming the frame rate of a footage item does not alter the original file, only the reference that After Effects uses. When conforming, After Effects changes the internal duration of frames but not the frame content. Afterward, the footage plays back at a different speed. For example, if you conform the frame rate from 15 fps to 30 fps, the footage plays back twice as fast.
In most cases, conform the frame rate only when the difference between the footage frame rate and the output frame rate is small. Conforming can change the synchronization of visual footage that has an audio track, because changing the frame rate changes the duration of the video but leaves the audio unchanged.
If you want to stretch both audio and video, use the Time Stretch command. See Time-stretch a layer. Keyframes applied to the source footage remain at their original locations which retains their synchronization within the composition but not the visual content of the layer. You may need to adjust keyframe locations after conforming a footage item. You can change the frame rate for any movie or sequence of still images.
For example, you can import a sequence of ten still images and specify a frame rate for that footage item of 5 frames per second fps ; this sequence would then have a duration of two seconds when used in a composition. When you import a sequence of still images, it assumes the frame rate specified by the Sequence Footage preference in the Import category. The default rate is 30 frames per second fps. You can change the frame rate after importing by reinterpreting the footage item.
See Interpret footage items. Lower frame rates tend to give the impression of unreality, so many people prefer to work at a lower frame rate such as 24 frames per second for creative work instead of working at the If you remove pulldown from interlaced video footage, After Effects automatically sets the frame rate of the resulting footage item to four-fifths of the original frame rate.
When removing pulldown from NTSC video, the resulting frame rate is 24 fps. The frame rate of the composition should match the frame rate of the final output format. In most cases, you can simply choose a composition settings preset. In contrast, set the frame rate for each footage item to the frame rate of the original source footage. Trish and Chris Meyer provide tips and tricks regarding conforming footage items to a specific frame rate in an article PDF on Artbeats website.
For example, time-stretch a layer by Time-stretching modifies the speed of audio as well as video. Jeff Almasol provides a script on is redefinery website to set the frame rate and duration of the current composition and all compositions nested within it.
Pixel aspect ratio PAR is the ratio of width to height of one pixel in an image. Frame aspect ratio sometimes called image aspect ratio or IAR is the ratio of width to height of the image frame. Some video formats output the same frame aspect ratio but use a different pixel aspect ratio. For example, some NTSC digitizers produce a frame aspect ratio, with square pixels 1.
D1 NTSC produces the same frame aspect ratio but uses nonsquare pixels 0. D1 pixels, which are always nonsquare, are vertically oriented in systems producing NTSC video and horizontally oriented in systems producing PAL video.
If you display nonsquare pixels on a square-pixel monitor without alteration, images and motion appear distorted; for example, circles distort into ellipses. However, when displayed on a video monitor, the images are correct.
D1 PAL footage looks slightly narrower. Widescreen video formats have a frame aspect ratio of To preview non-square pixels on a computer monitor, click the Toggle Pixel Aspect Ratio Correction button at the bottom of the Composition panel.
The quality of the pixel aspect ratio correction for previews is affected by the Zoom Quality preference in the Previews category. See Viewer Quality preferences. Square pixels and frame aspect ratio B. Nonsquare pixels and frame aspect ratio C. Nonsquare pixels displayed on a square-pixel monitor. If a footage item uses nonsquare pixels, After Effects displays the pixel aspect ratio next to the thumbnail image for the footage item in the Project panel.
You can change the pixel aspect ratio interpretation for individual footage items in the Interpret Footage dialog box. By ensuring that all footage items are interpreted correctly, you can combine footage items with different pixel aspect ratios in the same composition. After Effects reads and writes pixel aspect ratios directly from QuickTime movies. For example, if you import a movie captured as widescreen DV , After Effects automatically tags it correctly. If a footage item does not contain information that explicitly indicates the pixel aspect ratio of the image, After Effects uses the pixel dimensions of the footage item frame to make a guess.
However, you can make sure that all files are interpreted correctly by looking in the Project panel or the Interpret Footage dialog box. Make sure to reset the pixel aspect ratio to Square Pixels when you import a square-pixel file that happens to have a D1 or DV pixel dimensions—for example, a non-DV image that happens to have pixel dimensions of x The pixel aspect ratio setting of the composition should match the pixel aspect ratio of the final output format.
In contrast, set the pixel aspect ratio for each footage item to the pixel aspect ratio of the original source footage. Trish and Chris Meyer provide tips and tricks regarding pixel aspect ratio in two PDF documents on the Artbeats website:. Chris Pirazzi provides technical details about aspect ratios on his Lurker's Guide to Video website. After Effects CS3 and earlier used pixel aspect ratios for standard-definition video formats that ignore the concept of clean aperture.
By not accounting for the fact that clean aperture differs from production aperture in standard-definition video, the pixel aspect ratios used by After Effects CS3 and earlier were slightly inaccurate.
The incorrect pixel aspect ratios cause some images to appear subtly distorted. The clean aperture is the portion of the image that is free from artifacts and distortions that appear at the edges of an image. The production aperture is the entire image. Todd Kopriva summarizes information about the corrected pixel aspect ratios in a post on the Adobe website. This discrepancy is limited to these older, standard-definition formats for which clean aperture differs from production aperture.
New projects and compositions created in After Effects CS4 and later use the correct pixel aspect ratio values by default.
Projects and compositions created in After Effects CS3 or earlier are upgraded to use the correct pixel aspect ratios when these projects are opened in After Effects CS4 and later. If you have a custom interpretation rules file, then you should update it with the correct pixel aspect ratio values.
If you use square-pixel footage items that are designed to fill the frame in a composition with non-square pixels, you may find that the change in pixel aspect ratios causes a difference in behavior. Composition settings presets for square-pixel equivalents of standard definition formats have changed as follows:. This setting can also be appropriate for footage that was transferred from film or for customized projects.
Footage has a x or x frame size, and the desired result is a frame aspect ratio. This setting can also be appropriate for footage that was exported from an application that works with nonsquare pixels, such as a 3D animation application.
Footage was shot using an anamorphic film lens, or it was anamorphically transferred from a film frame with a aspect ratio. Legal Notices Online Privacy Policy. About imported files and footage items. Native encoding and decoding of QuickTime files. Supported import formats. Audio formats. Still-image formats. Video and animation formats. FLV, F4V. QuickTime MOV; 16 bpc , only for codecs that do not have any native decoders. RED R3D. Important Reminder:. Flash Player's end of life is December 31st, This document lists the file formats which Adobe After Effects can import and export.
You can add support for additional file formats to After Effects by installing a third-party plug-in. For a list of software developers that make plug-ins for After Effects, see Plug-ins. If you receive an error message or the video does not display correctly, you may need to install the codec used by the file.
For more information about the codec in use, contact the manufacturer of the software or hardware used to create the file.
Most file formats are rendered from After Effects by adding the composition to the render queue; see Render and export a movie using the render queue. The After Effects For more information, see QuickTime 7 support has ended. Note: You can import files of any still image format as a sequence. See Preparing and importing still images in After Effects help. HEIF and. For more information, see opening After Effects projects from previous versions and saving back to previous versions.
After Effects You can import a JavaScript syntax extension file. After Effects can import Adobe Photoshop.
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