Return-Path: Received: from nk11p00mm-asmtp002.mac.com ([17.158.161.1] verified) by media-motion.tv (CommuniGate Pro SMTP 4.2.10) with ESMTP id 4734947 for AE-List@media-motion.tv; Mon, 04 Jun 2012 23:39:35 +0200 MIME-version: 1.0 Content-type: multipart/alternative; boundary="Boundary_(ID_8risCE3joMIYeyN7x57vSw)" Received: from nk11p00mm-spool003.mac.com ([17.158.161.71]) by nk11p00mm-asmtp002.mac.com (Oracle Communications Messaging Server 7u4-23.01(7.0.4.23.0) 64bit (built Aug 10 2011)) with ESMTP id <0M5400DJ748F5G30@nk11p00mm-asmtp002.mac.com> for AE-List@media-motion.tv; Mon, 04 Jun 2012 21:42:00 +0000 (GMT) X-Proofpoint-Virus-Version: vendor=fsecure engine=2.50.10432:5.6.7580,1.0.260,0.0.0000 definitions=2012-06-04_05:2012-05-21,2012-06-04,1970-01-01 signatures=0 X-Proofpoint-Spam-Details: rule=notspam policy=default score=0 spamscore=0 ipscore=0 suspectscore=2 phishscore=0 bulkscore=0 adultscore=0 classifier=spam adjust=0 reason=mlx scancount=1 engine=6.0.2-1012030000 definitions=main-1206040279 Received: from localhost ([10.150.79.226]) by nk11p00mm-spool003.mac.com (Oracle Communications Messaging Server 7u4-23.01(7.0.4.23.0) 64bit (built Aug 10 2011)) with ESMTP id <0M5400GED49FWA10@nk11p00mm-spool003.mac.com> for AE-List@media-motion.tv; Mon, 04 Jun 2012 21:41:39 +0000 (GMT) To: After Effects Mail List From: Jim Curtis Subject: Re: [AE] OT: my head will explode Date: Mon, 04 Jun 2012 21:41:39 +0000 (GMT) X-Mailer: MobileMe Mail (1C323414) X-Originating-IP: [99.152.153.100] Message-id: In-reply-to: --Boundary_(ID_8risCE3joMIYeyN7x57vSw) Content-type: text/plain; charset=windows-1252; format=flowed Content-transfer-encoding: quoted-printable I've been doing my grading in Ae for some time now. =A0No other app has Ae= 's extensive roto-masking features, and ability to quickly create Luma Tra= ck Mattes for secondary corrections, extensive plug-in support, and extern= al monitoring. =A0Ae just doesn't do real-time, or have a frame store, or = have some other nifty functions such as Avid Symphony's tape and clip opti= ons, eye-dropper matching for scene-to-scene matching. =A0I do spots mostl= y, but I can see how some of those features would be invaluable for episod= ic and movies that have a lot of shots under the same lighting.=0A=0APlus,= the fewer apps I can pass things around to the better. =A0I'm still hopin= g I'll be able to use Pr some day for 90% of my color grading. =A0I would = love for Adobe to start opening up CUDA to third-party plugs. =A0That woul= d help.=0A=0AGet Test Gear from Synthetic Aperture. =A0Scopes for Ae. =A0I= haven't had a single spot (out of hundreds) rejected by DG FastChannel af= ter using them.=0A=0ANote: =A0I'm not a full-fledged color-grader guy. =A0= I'm an all-in-one-stop-shop; edit, mix, finish, master. =A0I think SpeedGr= ade, Resolve, Color, etc. are for people who do color work and nothing but= color work. =A0I don't claim to have their skills.=0A=0A=0AOn Jun 04, 201= 2, at 04:23 PM, James WIlson wrote:=0A=0AI know a lot of = you guys do color grading in AE, but I've always found it had to work in f= or several reasons, but...=0A=0AI was pretty excited about getting the new= CS6 with the SpeedGrade and all that CS6 tight integration with AE, PPro = and all, but I've sadly found that there's no support anywhere for Kona3 i= n the grading world for me at the moment and my head is going to explode b= ecause of it. Can someone talk me down from the ledge?=0A=0AAJA just relea= sed the new CS6 plugins, but AE was already seeing my card right out of th= e download =96 now PPro can output to a broadcast monitor too, great! But = grading in PPro or AE is not appealing to me ( lack of any real software s= copes active during playback, don't have any hardware scopes, PPro's 3-way= pales compared to Apple Color, etc. ) and there's no support for SpeedGra= de. There's no support for DaVinci. Apple Color's output breaks in Lion an= d won't be supported by Apple. I have a Quadro 4000, but I'm not getting t= he SDI version ( why would I with a Kona 3 ).=0A=0AI guess I'm hoping that= someone out there, somewhere, could give me an inkling of how anyone is c= urrently grading with a real external monitor from a Kona3.=0A=0AI think t= hat the upgrades in PPro and AE are all great, but SpeedGrade seems to hav= e been really rushed. I think I'll mix a cocktail now.=0A+---End of messag= e---+=0ATo unsubscribe send any message to =0A= --Boundary_(ID_8risCE3joMIYeyN7x57vSw) Content-type: multipart/related; boundary="Boundary_(ID_1nARqGU2iz1Oekc4NjM3Yw)"; type="text/html" --Boundary_(ID_1nARqGU2iz1Oekc4NjM3Yw) Content-type: text/html; charset=windows-1252 Content-transfer-encoding: quoted-printable
I've been doing my grading in Ae for some time now.  No other ap= p has Ae's extensive roto-masking features, and ability to quickly create = Luma Track Mattes for secondary corrections, extensive plug-in support, an= d external monitoring.  Ae just doesn't do real-time, or have a frame= store, or have some other nifty functions such as Avid Symphony's tape an= d clip options, eye-dropper matching for scene-to-scene matching.  I = do spots mostly, but I can see how some of those features would be invalua= ble for episodic and movies that have a lot of shots under the same lighti= ng.

Plus, the fewer apps I can pass things around to the= better.  I'm still hoping I'll be able to use Pr some day for 90% of= my color grading.  I would love for Adobe to start opening up CUDA t= o third-party plugs.  That would help.

Get T= est Gear from Synthetic Aperture.  Scopes for Ae.  I haven't had= a single spot (out of hundreds) rejected by DG FastChannel after using th= em.

Note:  I'm not a full-fledged color-grad= er guy.  I'm an all-in-one-stop-shop; edit, mix, finish, master. &nbs= p;I think SpeedGrade, Resolve, Color, etc. are for people who do color wor= k and nothing but color work.  I don't claim to have their skills.


On Jun 04, 2012, at 04:23 PM, James WIlson <= lists@jwmm.com> wrote:

I know a lot of you guys do c= olor grading in AE, but I've always found it had to work in for several re= asons, but...
=0A
=0AI was pretty excited about getting the new CS6 = with the SpeedGrade and all that CS6 tight integration with AE, PPro and a= ll, but I've sadly found that there's no support anywhere for Kona3 in the= grading world for me at the moment and my head is going to explode becaus= e of it. Can someone talk me down from the ledge?
=0A
=0AAJA just re= leased the new CS6 plugins, but AE was already seeing my card right out of= the download =96 now PPro can output to a broadcast monitor too, great! B= ut grading in PPro or AE is not appealing to me ( lack of any real softwar= e scopes active during playback, don't have any hardware scopes, PPro's 3-= way pales compared to Apple Color, etc. ) and there's no support for Speed= Grade. There's no support for DaVinci. Apple Color's output breaks in Lion= and won't be supported by Apple. I have a Quadro 4000, but I'm not gettin= g the SDI version ( why would I with a Kona 3 ).
=0A
=0AI guess I'm = hoping that someone out there, somewhere, could give me an inkling of how = anyone is currently grading with a real external monitor from a Kona3.
= =0A
=0AI think that the upgrades in PPro and AE are all great, but Spee= dGrade seems to have been really rushed. I think I'll mix a cocktail now.<= br>=0A+---End of message---+
=0ATo unsubscribe send any message to <= ae-list-off@media-motion.tv>
=0A
= --Boundary_(ID_1nARqGU2iz1Oekc4NjM3Yw)-- --Boundary_(ID_8risCE3joMIYeyN7x57vSw)--