Return-Path: Received: from mout.perfora.net ([74.208.4.195] verified) by media-motion.tv (CommuniGate Pro SMTP 4.2.10) with ESMTP-TLS id 5155803 for AE-List@media-motion.tv; Fri, 26 Jul 2013 01:08:00 +0200 Received: from [10.1.1.207] (71-13-195-18.static.eucl.wi.charter.com [71.13.195.18]) by mrelay.perfora.net (node=mrus3) with ESMTP (Nemesis) id 0MFtj4-1UqtgT1PWQ-00EdoG; Thu, 25 Jul 2013 19:19:16 -0400 From: Steve Oakley Content-Type: multipart/alternative; boundary="Apple-Mail=_21D4EFA4-8966-4CA6-B2D9-9DCA31E608E0" Message-Id: <86C185A6-009D-4FC5-8724-57A271FA1825@practicali.com> Mime-Version: 1.0 (Mac OS X Mail 6.5 \(1508\)) Subject: Re: [AE] OT: Kona 3 RGB Colorspace Date: Thu, 25 Jul 2013 18:19:14 -0500 References: To: "After Effects Mail List" In-Reply-To: X-Mailer: Apple Mail (2.1508) X-Provags-ID: V02:K0:FYnIeDJPMESHiwTg1T90DIM5YZP1Bc7Mf0RFfV2cixm Q4Qeggzd0vmpb6gJvujl68su2vk+2U+680g+13HQG2lYcs7WPe EAuETqRehRf5+M2aebzHfv1UTKADoOoM4PKITDnkempHYqT4WO mAgXM9eTD7PO3FlRnDzSPDu1e3IspFr230hQR399xhhOT6begQ EwKHM4y7MjbhFDzXQI4sJlyF/55sGI/FM6ntv2aUhp4mUfZPUh LtI939az3pkf1Bp6pr1i74LGt8MU13KeIXKY8TiwshrBjWYq/d cP2eSnSfw2xLddTQzBUFgCBLR0JRB8ufE+YK3jGURe3F5auL2o 1sjh7CaYUBK4tY/A5IhAR+bIHUHz9DnC3B/aB+KNW/CrISliji yOvCyqzEij63g== --Apple-Mail=_21D4EFA4-8966-4CA6-B2D9-9DCA31E608E0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=utf-8 In FCP you can set your capture card to 8 or 10 bit. this is done with = the YUV-10 or YUV-8 setting buried in capture settings. ProRes can in = fact be 8bit if its fed 8bit. Most capture card presets use the YUV-10 = setting though. the file isn't RGB. so use 609 color as a starting = point, but if the image has gone thru unknown analog signal handling = you'll have to adjust as needed. also given that since analog video no longer exists for broadcast, you = could pull the black levels in the picture to 0 if it looks better. its = also possible that some VTR's have a set up option that gets turned on. = when you have proper 7.5IRE black, then add setup again your blacks wind = up at 15IRE. been thru this with the local TVS's :( S On Jul 25, 2013, at 12:25 PM, Jim Curtis wrote: > I have FCP and a Kona LHi, and I don't see YUV-10 as an option in the = Capture tool. All my presets are variations on RGB. I'm fairly certain = that Kona only captures RGB, and not 16-235. =20 >=20 > And IINM, 16-235 suggests an 8-bit color space, whereas a 10-bit would = be 0-32768 (or some other much larger range than 0-255), correct? >=20 > In any event, I've never seen a ProRes file from tape or telecine via = Kona that was in 16-235. I've seen it through Avid hardware, though. >=20 > If you have a broadcast monitor, I don't know if it even matters that = much. I'm getting more footage in that's RAW or linear, which often = doesn't look good or right without color correction. As long as you can = make it look nice with color correction, that's what's important. =20 >=20 > Putting a Levels plug on your footage with the Input Black set to 16, = and the Input White set to 235 will adjust it to 0-235 (in an 8-bit = project). >=20 >=20 >=20 > On Jul 25, 2013, at 12:03 PM, Stephen van Vuuren wrote: >=20 >> A client has sent me a file and they are not colorspace savvy. It=E2=80= =99s a ProRes 422 HQ file that was captured off D5 tape into Final Cut = as =E2=80=9CYUV-10=E2=80=9D via Kona 3 card SDI. >>=20 >> ProRes is not tagged and having difficult figuring out best = colorspace for it. Rec709 and sRGB looked a little washed out. Rec709 = (16-235) looks better in midtones but gamma a bit dark. P3 looks richer = but a little darker still. >> =20 >> File is pillarboxed and pillarboxes are RGB 0,0,0. >> =20 >> Can=E2=80=99t find much help via google =E2=80=93 any ideas? >> =20 >> stephen van vuuren >> 336.202.4777 >> =20 >> http://www.insaturnsrings.com/ >> http://www.sv2dcp.com/ >> http://www.sv2studios.com/ >> =20 >> A film is =E2=80=93 or should be =E2=80=93 more like music than like = fiction. It should be a progression of moods and feelings. The theme, = what=E2=80=99s behind the emotion, the meaning, all that comes later. >> =E2=80=93Stanley Kubrick >> =20 >> From: After Effects Mail List [mailto:AE-List@media-motion.tv] On = Behalf Of Peter Mock >> Sent: Thursday, July 25, 2013 11:33 AM >> To: After Effects Mail List >> Subject: Re: [AE] Does trapcode creative Suite work on Adobe After = Effects CC ? >> =20 >> Thank you all that was a great help >> Peter >> =20 >> On 24 Jul 2013, at 14:54, Todd Kopriva wrote: >>=20 >>=20 >> = https://support.redgiant.com/entries/21756405-Adobe-After-Effects-CC-suppo= rt-for-Particular >>=20 >> On Tuesday, July 23, 2013, Peter Mock wrote: >> Does trapcode creative Suite work on Adobe After Effects CC ? >> Thank you >> Peter >>=20 >>=20 >> --=20 >> -------------------------------- >> Todd Kopriva >> 1510 E Alder St >> Seattle, WA 98122 >> (206)437-2296 >> -------------------------------- >> "Mobility is more important than motion." >> - Gy=C3=B6rgy Seb=C5=91k >> =20 >=20 --Apple-Mail=_21D4EFA4-8966-4CA6-B2D9-9DCA31E608E0 Content-Transfer-Encoding: quoted-printable Content-Type: text/html; charset=utf-8 In = FCP you can set your capture card to 8 or 10 bit. this is done with the = YUV-10 or YUV-8 setting buried in capture settings. ProRes can in fact = be 8bit if its fed 8bit. Most capture card presets use the YUV-10 = setting though. the file isn't RGB. so use 609 color as a starting = point, but if the image has gone thru unknown analog signal handling = you'll have to adjust as needed.

also given that = since analog video no longer exists for broadcast, you could pull the = black levels in the picture to 0 if it looks better. its also possible = that some VTR's have a set up option that gets turned on. when you have = proper 7.5IRE black, then add setup again your blacks wind up at 15IRE. = been thru this with the local TVS's = :(

S

On Jul 25, 2013, = at 12:25 PM, Jim Curtis <jpcurtis@me.com> wrote:

A = client has sent me a file and they are not colorspace savvy. It=E2=80=99s = a ProRes 422 HQ file that was captured off D5 tape into Final Cut as = =E2=80=9CYUV-10=E2=80=9D via Kona 3 card = SDI.

ProRes = is not tagged and having difficult figuring out best colorspace for it. = Rec709 and sRGB looked a little washed out. Rec709 (16-235) looks better = in midtones but gamma a bit dark. P3 looks richer but a little darker = still.
File is pillarboxed and = pillarboxes are RGB 0,0,0.
 
Can=E2=80=99t find much help via = google =E2=80=93 any ideas?
 
stephen van = vuuren
 
 After = Effects Mail List [mailto:AE-List@media-motion.tv] On Behalf Of Peter = Mock
Sent: Thursday, July 25, 2013 = 11:33 AM
To: After Effects Mail = List
Subject: Re: [AE] Does trapcode = creative Suite work on Adobe After Effects CC = ?
Thank you all that was a great = help
On 24 Jul 2013, at 14:54, = Todd Kopriva <toddkopriva@gmail.com> = wrote:
Does trapcode creative Suite = work on Adobe After Effects CC ?
Thank = you
Peter


-- 
-------------------------= -------
Todd Kopriva
1510 E Alder St
Seattle, WA = 98122
(206)437-2296
--------------------------------
"Mobility = is more important than motion."
   - Gy=C3=B6rgy = Seb=C5=91k