Return-Path: Received: from mail-ob0-f169.google.com ([209.85.214.169] verified) by media-motion.tv (CommuniGate Pro SMTP 4.2.10) with ESMTP-TLS id 4909884 for AE-List@media-motion.tv; Tue, 27 Nov 2012 15:46:09 +0100 Received: by mail-ob0-f169.google.com with SMTP id lz20so9939960obb.28 for ; Tue, 27 Nov 2012 06:49:49 -0800 (PST) DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=mime-version:in-reply-to:references:from:date:message-id:subject:to :content-type; bh=lOXoGYjrTzurB8rZBnvqdm5m986TBQ4NVVCTUAyJzX0=; b=zhAFadb47cn2doSmJfZUMYNPvE9GzCnvtF510saw5yax5LJQAxUC38LDvE/w1B5Jbl VyayrhKiuTaPovrlsDLQpgexwIAi60J7K6ok5gfWa1rvnJ6YdPeX2AVCCE6XlUwzkLNc mB909EVmpRSQz+LYHcNQw/oIfgHZ2ATFLhneuS5VYKF7lbj6m0XDyR7XkPKwYquwRYDU ECX6i5S/ycIWJNGpqeKSt79lOiHpanwlMvlO46CXXKMpyeItZeL0/VHbNdQrgPPMuy1B mCQdk6xoP8InmPuqnxPFVIgVnlAp2X9iH1l9zfVl/WWtGAajSmtlH6zhSzgSSDpoKSHG ekBg== Received: by 10.60.27.36 with SMTP id q4mr13463471oeg.111.1354027789690; Tue, 27 Nov 2012 06:49:49 -0800 (PST) MIME-Version: 1.0 Received: by 10.60.92.104 with HTTP; Tue, 27 Nov 2012 06:49:27 -0800 (PST) In-Reply-To: References: From: Byron Nash Date: Tue, 27 Nov 2012 09:49:27 -0500 Message-ID: Subject: Re: [AE] Arri flat To: After Effects Mail List Content-Type: multipart/alternative; boundary=e89a8fb1f1726ba6bd04cf7b2995 --e89a8fb1f1726ba6bd04cf7b2995 Content-Type: text/plain; charset=ISO-8859-1 I normally put the Alexa LUT on an adjustment layer and do all my VFX under that. That way I know what I'm adding is going to look balanced with the shot when the look is applied. Before rendering I turn off the adjustment layer and render to ProRes 4444. The colorist here is using resolve so he can grade the shot from the same point that every other shot starts at. All of my work should travel correctly with it. I often deliver mattes to the colorist as well to allow them greater control over grading the VFX. I always keep the AE file in 16bits as a minimum and often work in 32bit linear. On Mon, Nov 26, 2012 at 5:11 PM, Erik Hansen wrote: > 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?) > > > --e89a8fb1f1726ba6bd04cf7b2995 Content-Type: text/html; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable I normally put the Alexa LUT on an adjustment layer and do all my VFX under= that. That way I know what I'm adding is going to look balanced with t= he shot when the look is applied. Before rendering I turn off the adjustmen= t layer and render to ProRes 4444. The colorist here is using resolve so he= can grade the shot from the same point that every other shot starts at. Al= l of my work should travel correctly with it. I often deliver mattes to the= colorist as well to allow them greater control over grading the VFX. I alw= ays keep the AE file in 16bits as a minimum and often work in 32bit linear.=


On Mon, Nov 26, 2012 at 5:11 PM, Erik Ha= nsen <eahansen@gmail.com> wrote:
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 <teddy= gage@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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