Return-Path: Received: from mail-oa0-f41.google.com ([209.85.219.41] verified) by media-motion.tv (CommuniGate Pro SMTP 4.2.10) with ESMTP-TLS id 4909372 for AE-List@media-motion.tv; Mon, 26 Nov 2012 23:07:30 +0100 Received: by mail-oa0-f41.google.com with SMTP id k14so10592144oag.28 for ; Mon, 26 Nov 2012 14:11:09 -0800 (PST) DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=mime-version:in-reply-to:references:date:message-id:subject:from:to :content-type; bh=jFdVw+s8sQMkrnLhXC3d5AeVOy3+mk9F88W4TT7k5FM=; b=goZSiQZdyV0+9xuUTajLyQfRpMcj8+hWBYHNj2mZJasM9FN1O4mB/4HpKPfNzAwgWx fpWq/3NlXC9haNkGEDfF0QhgB69ZRJ+QOafDdL/KdkKrFuLAqs8839A5wT8OPpUIdLT6 gTYK6AtcU3EFKBCkNYutadSApmvMaJWdPOjeq2wwgOSULFZp0Zw11SAsyxL6Oa9bRgMw 6QgaAhvHj2yYgyEgP7zCFZ11PVGAv57p5wNv9G+qcmHwDx3zAIbO6vzRB67w4Pq0Iu4b Zi5SiVOH03otCyLNEWwYhC8Rz2Di0ISrZG40f1ZgseO8q0dwAGNgCYa0LWC/OQXx0Xf1 kn2w== MIME-Version: 1.0 Received: by 10.60.169.10 with SMTP id aa10mr10252671oec.37.1353967869183; Mon, 26 Nov 2012 14:11:09 -0800 (PST) Received: by 10.76.8.194 with HTTP; Mon, 26 Nov 2012 14:11:09 -0800 (PST) In-Reply-To: References: Date: Mon, 26 Nov 2012 14:11:09 -0800 Message-ID: Subject: Re: [AE] Arri flat From: Erik Hansen To: After Effects Mail List Content-Type: multipart/alternative; boundary=bcaec54a3900e1475b04cf6d35ab --bcaec54a3900e1475b04cf6d35ab Content-Type: text/plain; charset=ISO-8859-1 Unfortunately, it depends on the rest of your pipeline/workflow. Are you just delivering the sources back to editorial/online for them to color correct? In this specific situation, I would convert the Rec709 to log (or better yet convert to LogC) and work with it from there - viewing LUT, etc... Erik -- Erik Hansen 323-316-3731 eahansen@gmail.com / error1k@me.com twitter @error1k error1k.tumblr.com On Mon, Nov 26, 2012 at 9:54 AM, Teddy Gage wrote: > Awesome man, thanks. I did a ton of research last night but the metadata > info is great. I've more or less figured out a good workflow, with a few > things still bugging me. Looks like they shot most of the background plates > for in-car greenscreen using the canon c300, and the colors don't match, so > the composite looks off. What kind of workflow is needed for mixed footage > comps like this? (ie mix of log and r709 footage?) --bcaec54a3900e1475b04cf6d35ab Content-Type: text/html; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Unfortunately, it depends on the rest of your pipeline/workflow. Are you ju= st delivering the sources back to editorial/online for them to color correc= t?

In this specific situation, I would convert the Rec70= 9 to log (or better yet convert to LogC) and work with it from there - view= ing LUT, etc...



On Mon, Nov 26, 2012 at 9:= 54 AM, Teddy Gage <teddygage@gmail.com> wrote:
Awesome man, thanks. I did a ton of research= last night but the metadata info is great. I've more or less figured o= ut a good workflow, with a few things still bugging me. Looks like they sho= t most of the background plates for in-car greenscreen using the canon c300= , and the colors don't match, so the composite looks off. What kind of = workflow is needed for mixed footage comps like this? (ie mix of log and r7= 09 footage?)

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