Return-Path: Received: from qmta10.emeryville.ca.mail.comcast.net ([76.96.30.17] verified) by media-motion.tv (CommuniGate Pro SMTP 4.2.10) with ESMTP id 4910109 for ae-list@media-motion.tv; Tue, 27 Nov 2012 20:44:33 +0100 Received: from omta14.emeryville.ca.mail.comcast.net ([76.96.30.60]) by qmta10.emeryville.ca.mail.comcast.net with comcast id UigH1k0081HpZEsAAjoEu4; Tue, 27 Nov 2012 19:48:14 +0000 Received: from sz0119.ev.mail.comcast.net ([76.96.40.137]) by omta14.emeryville.ca.mail.comcast.net with comcast id UjoE1k0082xZMJ48ajoEPq; Tue, 27 Nov 2012 19:48:14 +0000 Date: Tue, 27 Nov 2012 19:48:14 +0000 (UTC) From: pixelbot@comcast.net To: After Effects Mail List Message-ID: <234707499.593342.1354045693999.JavaMail.root@sz0119a.emeryville.ca.mail.comcast.net> In-Reply-To: Subject: Re: [AE] Arri flat MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_Part_593341_1918794011.1354045693957" X-Originating-IP: [::ffff:107.1.199.10] X-Mailer: Zimbra 6.0.13_GA_2944 (ZimbraWebClient - SAF3 (Mac)/6.0.13_GA_2944) DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=comcast.net; s=q20121106; t=1354045694; bh=mc7GJsSwkmnefy7L1E9zXLKIuuF2D12iXYKv2U2J2+Y=; h=Received:Received:Date:From:To:Message-ID:Subject:MIME-Version: Content-Type; b=cvWOzAuJdlbL73D2+pdQ2NjoF1//0s8ujblVE5cxJ0F3nmF9r9nVSbdbzzCZtcEyh +VLuk/VdxF8rmEvPc+GjE2lYVWs88kLJv+2oFi6cllCawKv3ufnku/tEK1Hkjtyo+u wNa6tpu2OJG5I21/1FtLfQuGsin4XcfofnOqn0dklyOEd9fKwnmP9av0c0uZ4ONL/j ZmZCj6YeJ32uX56cWjBZDtpWJazL7r63vAXnJgD3xg0fwyVUb0Co8JIKV2UBSZtKsZ QQiZiPoj6gOxQ4N3nDLPGh+d3o2flIxZdzPfNSpMPPrg+pEAD4AtUjjwUoiACipfJT ByvAiMZ8xeM5w== ------=_Part_593341_1918794011.1354045693957 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: 7bit you could also make that adjustment layer a guide layer so that it never accidentally renders tt ----- Original Message ----- From: "Byron Nash" 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. ------=_Part_593341_1918794011.1354045693957 Content-Type: text/html; charset=utf-8 Content-Transfer-Encoding: 7bit

you could also make that adjustment layer a guide layer so that it never accidentally renders

From: "Byron Nash" <byronnash@gmail.com>

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.

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