How To Add Audio Into After Effects

Afterwards Effects User Guide
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Interlaced video and separating fields

Interlacing is a technique adult for transmitting goggle box signals using limited bandwidth. In an interlaced system, but half the number of horizontal lines for each frame of video are transmitted at a time. Because of the speed of transmission, the afterglow of displays, and the persistence of vision, the viewer perceives each frame in full resolution. All of the analog tv set standards use interlacing. Digital tv set standards include both interlaced and noninterlaced varieties. Typically, interlaced signals are generated from interlaced scanning, whereas noninterlaced signals are generated from progressive scanning.

Each interlaced video frame consists of two fields. Each field contains half the number of horizontal lines in the frame; the upper field (or Field i) contains the odd-numbered lines, and the lower field (or Field 2) contains the even-numbered lines. An interlaced video monitor displays each frame by first cartoon all of the lines in one field and so drawing all of the lines in the other field. Field social club specifies which field is drawn first. In NTSC video, new fields are drawn to the screen approximately threescore times per second, corresponding to a frame rate of approximately 30 frames per 2nd.

Noninterlaced video frames aren't separated into fields. A progressive‑scan monitor displays a noninterlaced video frame by drawing all the horizontal lines, from top to bottom, in one pass. Computer monitors are almost all progressive-scan monitors, and nigh video displayed on computer monitors is noninterlaced.

The terms progressive and noninterlaced are thus closely related and are often used interchangeably, but progressive scanning refers to the recording or drawing of the scan lines by a camera or monitor, whereas noninterlaced refers to the fact that the video data itself isn't separated into fields.

Interlaced scanning of interlaced video fields compared with progressive scanning of noninterlaced video frame.

A. For interlaced video, entire upper field (odd-numbered lines) is drawn to screen first, from tiptop to lesser, in one pass.B. Next, entire lower field (even-numbered lines) is fatigued to screen, from summit to lesser, in 1 pass.C. For noninterlaced video, entire frame (all lines in counting order) is drawn to screen, from acme to bottom, in one pass.

Divide video fields

If you lot want to utilize interlaced or field-rendered footage (such as NTSC video) in an After Effects project, you get the all-time results if you separate the video fields when you import the footage. Subsequently Furnishings separates video fields past creating a full frame from each field, preserving all of the prototype data from the original footage.

Separating fields is critical if yous program to make significant changes to the prototype. When yous scale, rotate, or apply furnishings to interlaced video, unwanted artifacts, such equally crossed fields, are oft introduced. Past separating fields, After Effects accurately converts the two interlaced frames in the video to noninterlaced frames, while preserving the maximum amount of image quality. Using noninterlaced frames allows After Effects to apply edits and effects consistently and at the highest quality.

After Furnishings creates field-separated footage from a single formerly interlaced frame by splitting it into 2 independent frames. Each new frame has only half the information of the original frame, then some frames may appear to have a lower resolution than others when viewed at Draft quality. When you render the final composition, After Effects reproduces high-quality interlaced frames for output. When you render a motion-picture show at All-time quality, Afterward Furnishings interpolates between the browse lines of a field to produce maximum prototype quality.

If your output will not be interlaced, it'due south all-time to use noninterlaced source footage, to avert the need to split fields. However, if a noninterlaced version of your source footage is non available, interlaced footage will work fine.

Always separate fields for interlaced footage. Never separate fields for noninterlaced footage items.

You can only remove pull-down later you have separated fields.

When you return a composition containing field-separated footage, set the Field Rendering selection to the same field guild as your video equipment. If you don't field-render the composition, or if you field-render with the incorrect settings, the final picture show may appear too soft, jerky, or distorted.

To quickly give video footage a more than film-similar appearance, import the footage twice, and translate each footage item with a different field order. Then add them both to the same composition and blend them together. The misinterpreted layer adds some picture show-like blur.

Subsequently Effects automatically separates fields for D1 and DV video footage items. You can manually separate fields for all other types of video footage in the Interpret Footage dialog box.

Select the footage item in the Projection panel.

Cull File > Translate Footage > Main.

Cull an choice from the Separate Fields menu.

Click Preserve Edges (All-time Quality Simply) to increase paradigm quality in nonmoving areas when the epitome is rendered at Best quality. Then click OK.

If the field settings in the Interpret Footage dialog box are correct for the input footage and the field settings in the Return Settings dialog box are correct for the output device, you lot can mix footage items of different field orders in a composition. If either of these settings is wrong, however, the frames will be in the right order, but the field club may be reversed, resulting in jerky, unacceptable images.

Decide the original field gild

The field social club for an interlaced video footage item determines the order in which the ii video fields (upper and lower) are displayed. A system that draws the upper lines before the lower lines is called upper-field starting time; one that draws the lower lines before the upper lines is called lower-field first. Many standard-definition formats (such as DV NTSC) are lower-field first, whereas many high-definition formats (such as 1080i DVCPRO Hard disk) are upper-field outset.

The order in which the fields are displayed is important, peculiarly when the fields contain motion. If y'all dissever video fields using the wrong field order, movement does not appear smooth.

Some programs, including After Furnishings, label the field gild when rendering interlaced video files. When you import a labeled video file, After Effects honors the field club label automatically. You tin override this field social club past applying different footage estimation settings.

If a file does non contain a field order characterization, you tin match the original field order of your footage. If you are not certain which field social club was used to interlace a footage item, utilise this procedure to observe out.

Select the detail in the Project panel.

Cull File > Translate Footage > Main.

In the Interpret Footage dialog box, select Upper Field First from the Separate Fields carte, and so click OK.

In the Project console, press Alt (Windows) or Option (Mac OS) as yous double-click the footage to open information technology in the Footage console.

If the Preview console is not visible, choose Window > Preview.

In the Footage panel, discover a segment that contains one or more than moving areas.

Using the Next Frame button in the Preview panel, stride forwards at to the lowest degree five frames in the Footage console. Moving areas should movement consistently in i direction. If the moving areas move backward every other frame, the wrong field-separation option has been applied to the footage.

Online resources about fields and interlaced video

Chris Pirazzi provides technical details of fields and interlacing on his Lurker'south Guide to Video website.

Trish and Chris Meyer provide a variety of materials about interlacing, field lodge, field dominance, field rendering, and separating fields:

article introducing interlacing and field order on the ProVideo Coalition website

Remove 3:ii or 24Pa pulldown from video

When you transfer 24-fps movie to 29.97-fps video, you use a process called iii:two pulldown, in which the motion picture frames are distributed across video fields in a repeating 3:two pattern. The first frame of motion picture is copied to fields 1 and 2 of the first frame of video, and also to field 1 of the 2nd video frame. The second frame of motion picture is then spread across the next two fields of video—field 2 of the 2d video frame and field one of the 3rd frame of video. This 3:ii pattern is repeated until four frames of film are spread over five frames of video, and so the blueprint is repeated.

The 3:2 pulldown process results in whole frames (represented by a W) and split-field frames (represented by an S). The three whole video frames contain ii fields from the same picture show frame. The remaining 2 split-field frames contain a video frame from two different film frames. The two split-field frames are always adjacent to each other. The phase of 3:ii pulldown refers to the point at which the two split-field frames autumn within the kickoff five frames of the footage.

Stage occurs as a result of two conversions that happen during 3:2 pulldown: 24-fps film is redistributed through 30-fps video, so each of four frames of 24-fps picture show is spread out over five frames of 30(29.97)-fps video. Commencement, the pic is slowed downward 0.ane% to match the speed difference between 29.97 fps and 30 fps. Next, each film frame is repeated in a special blueprint and mated to fields of video.

Remove 3:2 or 24Pa pulldown from video — When you employ 3:2 pulldown to footage, i frame of the film (A) is separated into two or iii interlaced video fields (B) which are grouped into video frames containing 2 fields each.

When importing interlaced video that was originally transferred from film, yous can remove the three:two pulldown that was practical during the transfer from movie to video equally you separate fields then that effects y'all employ in After Effects don't announced distorted.

It'southward important to remove 3:2 pulldown from video footage that was originally film and then that effects y'all add in After Effects synchronize perfectly with the original frame rate of picture show. Removing 3:2 pulldown reduces the frame rate by i/five—from xxx to 24 fps or from 29.97 to 23.976 fps, which besides reduces the number of frames you have to change. To remove 3:2 pulldown, you must besides indicate the phase of the 3:2 pulldown.

After Furnishings also supports Panasonic DVX100 24p DV camera pulldown, called 24P Accelerate (24Pa). Some cameras utilize this format to capture 23.976 progressive-scan imagery using standard DV tapes.

Before yous remove iii:2 pulldown, separate the fields as either upper-field first or lower-field first. One time the fields are separated, Subsequently Effects can analyze the footage and determine the correct three:2 pulldown stage and field gild. If yous already know the stage and field society, choose them from the Separate Fields and the Remove menus in the Interpret Footage dialog box.

In the Project console, select the footage item from which to remove three:2 pulldown.

Choose File > Interpret Footage > Main.

In the Fields and Pulldown section, select Upper Field First or Lower Field Starting time from the Divide Fields bill of fare.

Do one of the following and click OK:

If yous know the phase of the iii:ii or 24Pa pulldown, cull it from the Remove carte.
To have After Effects determine the correct settings, click Guess 3:ii Pulldown or Guess 24Pa Pulldown.

If your footage file contains frames from different sources, the phase may not be consistent. If the phase is inconsistent, import the footage multiple times, once for each phase, and translate each footage detail with a unlike setting. So, add each footage item to your composition and trim each layer to employ merely the appropriate frames. In other words, if you have an asset that has multiple pulldown phases, then you need to cutting that nugget into pieces and remove pulldown separately for each of the pieces. This tin can come if the asset is a movie that has been edited together from several sources in an NLE.

Import assets in Panasonic P2 format

A P2 carte is a solid-state memory device that plugs into the PCMCIA slot of a Panasonic P2 video photographic camera. The digital video and audio data from the video camera is recorded onto the card in a structured, codec-independent format known as MXF (Media eXchange Format). Specifically, Adobe Premiere Pro and After Furnishings back up the Panasonic Op-Atom variant of MXF, with video in AVC-Intra 50, AVC-Intra 100, DV, DVCPRO, DVCPRO50, and DVCPRO Hard disk formats. A clip is said to be in the P2 format if its audio and video are contained in Panasonic Op-Atom MXF files, and these files are located in a specific folder structure.

The root of the P2 folder construction is a CONTENTS folder. Each essence item (an item of video or audio) is independent in a separate MXF wrapper file; the video MXF files are in the VIDEO subfolder, and the audio MXF files are in the Audio subfolder. The relationships betwixt essence files and the metadata associated with them are tracked by XML files in the Clip subfolder.

Adobe Premiere Pro and After Furnishings do non back up proxies recorded by Panasonic P2 camcorders in P2 card PROXY folders.

The video and audio on a P2 card are already in a digital form, every bit if the P2 carte were a hd, and then no capture pace is involved in importing media from a P2 carte. The process of reading the information from the card and converting it to a format that tin be used in a project is sometimes referred to as ingest.

For your computer to read P2 cards, you must install the appropriate commuter, which you can download from the Panasonic website. Panasonic also provides the P2 Viewer application, with which you can browse and play media stored on a P2 card.

Because Panasonic P2 cards use the FAT32 file system, each file is express to a size of iv GB. When a shot is recorded that requires more than the 4 GB, a P2 camera creates another file and continues recording the shot to the new file without interruption. This is referred to equally clip spanning, because the shot spans more than than one file or clip. Similarly, a camera may span a shot beyond files on different P2 cards: if the camera has more than than one P2 card loaded, it will tape the shot until it runs out of room on the showtime P2 card, create a new file on the next P2 bill of fare with available infinite, and go along recording the shot to it. Although a single shot can be recorded to a group of multiple spanned clips, the multiple-file shot is designed to be treated equally a single clip or footage item in a video editing awarding. For After Effects to automatically import a group of spanned clips simultaneously and assemble them into a single footage item, they must all have been recorded to the same P2 card and none of the files can be missing, including the associated XML metadata file.

(Optional) Re-create the unabridged contents of the P2 carte du jour to a hd.

Though information technology is possible to import assets into Adobe Premiere Pro or After Effects directly from a P2 card, it is unremarkably more efficient to copy the contents of the P2 bill of fare to a difficult disk earlier importing.

Navigate to the CONTENTS folder.

Select one or more MXF files:

To import a video essence item and its associated audio essence items, select the MXF files from the VIDEO folder.
To import only the audio essence items, select the MXF files from the Audio binder.
To import a group of spanned clips for a shot that were recorded onto the same P2 carte du jour, select but one of the MXF files in the group from the VIDEO folder. The group is imported as a single footage item with a elapsing equal to the total duration of all the spanned clips it includes. If you select more than one of these spanned clips, you import duplicates of the whole grouping of spanned clips, as indistinguishable footage items in the Projection panel.

Yous cannot import spanned clips from a shot that spans two unlike cards equally a single footage item. Rather, you lot must select a single MXF file belonging to the shot from each card to create a separate footage detail for the part of the shot recorded on each menu. For example, if a grouping of spanned clips for a unmarried shot itself spans two cards, you must select a spanned clip from the group on card one and another from the group on carte ii. This imports the contents of the shot into two footage items in the Projection console.

The Date column in the Project panel shows when each source clip was acquired. Afterward you import spanned clips, you can use the Date value to determine their right chronological order inside the shot.

Afterward Effects can't direct export to the P2 format. To render and export to the P2 format, use Adobe Media Encoder or Premiere Pro.

For boosted data on the Panasonic P2 format and workflows with Adobe digital video software, meet the Adobe website: