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Hi there,
Can you keep the metadata within a DPX range intact when exporting these frames back out from After Effects?
Cheers!
wanting to keep the timecode intact 🙂
wanting to keep the timecode intact 🙂
Hey there,
It sounds like you have timecode with dpx frames? Is that right? Usually timecode is related to video and dpx frames are log film scan that do not have timecode. You might have dpx frames with keycode window burns? Humm? You refer to meta data. Makes me think of raw or EXR files. What type of Meta Data do your DPX frames have right now when you view the meta data?
The timecode subject line is throwing me off a bit sorry.
If I had to stab at this not getting what you are putting down: No after effects will not render DPX files that include specific meta data.
You can burn in a feet and frame window if you wish.DPX frames can and do frequently have timecode, and can be video gamma.
Hey thanks guys for your input,
yeah my dpx frames have the meta data of timecode, bit depth, resolution etc. I can see this information & keep it in tact in Flame & Nuke but am unsure of how to keep it intact in After Effects.
I want to keep this information in tact for when i export these frames back out of after effects, after doing my composite.Cheers!
Mel
As far as I know after effects won’t handle timecode and meta-data. I can think of two workarounds though. The first one would mean some extra rendering steps so maybe not ideal. Anyways, if you have Nuke or Shake you can use that and copy the metadata from your original file back in your new comp. Like I said, a few extra steps but at least you’ll have your lost meta-data back again. The other solution, and this might not suit your pipeline? You mentioned that you have flame in your “arsenal”. What you can do is to use Flame’s ability to have a file name based timecode. It could look somehting like this:
Whateverproject_Shot_01.120428.dpx
Whateverproject_Shot_01.120429.dpx
etc.
The number between the dots is the timecode. So as long as you render your comp with the exact same sequence numbers you will keep the timecode in the file-name and that will then be translated back to actual timecode when importing your comp in flame again.Hope that helps.
“DPX frames can and do frequently have timecode, and can be video gamma.”
Interesting that they frequently have timecode and video gamma. I have only seen it once and their Tech was just digitizing video and instead of pngs he did dpx without thinking. But what are some frequent applications where you would expect to get 10 bit dpx files with video gamma, just so I can have a heads up if I do a job like that. Thanks
DPX files delivered from telecine would most definetely have timecode. How else would you be able to conform from EDL or XML? Without timecode in your source files you’d be totally lost.
About the gamma thing, it probably depends a bit on what side of the business you are. In film (where you obviously come from) you’d expect dpx to be log. However on the TVC side of things, having the graded source clips delivered as dpx and rec 709 wouldn’t be that uncommon.Would you prefer the graded source clips to be EXRs?
If you ask me, not really. 10 bit DPX would be perfectly fine. Especially if grading has already been done. There is really no point in having floating point overly sized files when all color depth already has been “thrown” away in grading. If you mean source clips with a technical/flat grade then maybe there would a point.
But still, 10 bit dpx in log has a really good balance in size vs. quality. DPX is also a format that almost all applications can read. And it has timecode.@Keyser_Soze 32306 wrote:
As far as I know after effects won’t handle timecode and meta-data. I can think of two workarounds though. The first one would mean some extra rendering steps so maybe not ideal. Anyways, if you have Nuke or Shake you can use that and copy the metadata from your original file back in your new comp. Like I said, a few extra steps but at least you’ll have your lost meta-data back again. The other solution, and this might not suit your pipeline? You mentioned that you have flame in your “arsenal”. What you can do is to use Flame’s ability to have a file name based timecode. It could look somehting like this:
Whateverproject_Shot_01.120428.dpx
Whateverproject_Shot_01.120429.dpx
etc.
The number between the dots is the timecode. So as long as you render your comp with the exact same sequence numbers you will keep the timecode in the file-name and that will then be translated back to actual timecode when importing your comp in flame again.Hope that helps.
Hi there,
thanks heaps for your help.
Thanks for the work around by using Flame & NUke. Thought about that one but was hoping to see After Effects be able to do this job on it’s own, though no prob if not. Good to know!CHeers
MelWhat type of Meta Data do your DPX frames have right now when you view the meta data?
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