Return-Path: Received: from mail-la0-f41.google.com ([209.85.215.41] verified) by media-motion.tv (CommuniGate Pro SMTP 4.2.10) with ESMTP-TLS id 4910077 for AE-List@media-motion.tv; Tue, 27 Nov 2012 19:58:54 +0100 Received: by mail-la0-f41.google.com with SMTP id m15so7047270lah.28 for ; Tue, 27 Nov 2012 11:02:36 -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=4S9mobV0OHzgyKFjH5A0GqXuWUbhDEXB733uf8CiP/k=; b=z9p6AJYfuRuQw2t2z3oYmhJcEQAmNFpl0JbLOOurUQ4aJQXPqf3+zKFXC1Fcyw8mxq 2xCk///KJNlHwlp9mQy4ZrLFErS9KvyORubF+NQL7XGbZl3QRmWTzh78hpaoQLI7BQlv riNpYRRBx1eOCBksQUdvg9DqTHp5DUC3jqpEpVPf5QsiGkGWXDp4lk5mPyJVRFVVzj3q mKOKwLr4omJubl43I4fp3y+Xf/O4ufSy6DTwwvLt/4SQMqkLh2tlhC6tRX1pTckxqRtK 9emor9htkLLaiYVaRHyisIahyTHi7sfkesikgPTMI4zv8GW5ZArmhh6b0YdGpMMmEGlc CeSA== Received: by 10.112.49.167 with SMTP id v7mr788214lbn.122.1354042956150; Tue, 27 Nov 2012 11:02:36 -0800 (PST) MIME-Version: 1.0 Received: by 10.112.135.41 with HTTP; Tue, 27 Nov 2012 11:01:55 -0800 (PST) In-Reply-To: References: From: Teddy Gage Date: Tue, 27 Nov 2012 14:01:55 -0500 Message-ID: Subject: Re: [AE] Arri flat To: After Effects Mail List Content-Type: multipart/alternative; boundary=bcaec554da326977c604cf7eb12e --bcaec554da326977c604cf7eb12e Content-Type: text/plain; charset=ISO-8859-1 So you apply the Arri profile to stock footage that's not in c-log? For example I have background plates shot on the c300 and stock elements from Action Essentials. I'd then match those in the converted color space? On Tue, Nov 27, 2012 at 9:49 AM, Byron Nash wrote: > 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?) >> >> >> > -- Animator & Editor www.teddygage.com Brooklyn --bcaec554da326977c604cf7eb12e Content-Type: text/html; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable So you apply the Arri profile to stock footage that's not in c-log? For= example I have background plates shot on the c300 and stock elements from = Action Essentials. I'd then match those in the converted color space?
On Tue, Nov 27, 2012 at 9:49 AM, Byron Nash = <byronnash@gmail.com> wrote:
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, No= v 26, 2012 at 9:54 AM, Teddy Gage <teddygage@gmail.com> wr= ote:
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?)





--
Animator & Editor
www.teddygage.com
Brooklyn

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