Return-Path: Received: from nk11p00mm-asmtp003.mac.com ([17.158.161.2] verified) by media-motion.tv (CommuniGate Pro SMTP 4.2.10) with ESMTP id 5155816 for AE-List@media-motion.tv; Fri, 26 Jul 2013 01:29:07 +0200 Received: from [192.168.1.68] (99-152-153-100.lightspeed.dllstx.sbcglobal.net [99.152.153.100]) by nk11p00mm-asmtp003.mac.com (Oracle Communications Messaging Server 7u4-27.04(7.0.4.27.3) 64bit (built Mar 7 2013)) with ESMTPSA id <0MQI007A1N3BW530@nk11p00mm-asmtp003.mac.com> for AE-List@media-motion.tv; Thu, 25 Jul 2013 23:40:25 +0000 (GMT) X-Proofpoint-Virus-Version: vendor=fsecure engine=2.50.10432:5.10.8794,1.0.431,0.0.0000 definitions=2013-07-25_10:2013-07-25,2013-07-25,1970-01-01 signatures=0 X-Proofpoint-Spam-Details: rule=notspam policy=default score=0 spamscore=0 ipscore=0 suspectscore=0 phishscore=0 bulkscore=0 adultscore=0 classifier=spam adjust=0 reason=mlx scancount=1 engine=6.0.2-1305010000 definitions=main-1307250165 From: Jim Curtis MIME-version: 1.0 (Apple Message framework v1283) Content-type: multipart/alternative; boundary="Apple-Mail=_682DCC15-40B7-4C0A-8F43-BD887D7E4620" Subject: Re: [AE] OT: Kona 3 RGB Colorspace Date: Thu, 25 Jul 2013 18:40:23 -0500 In-reply-to: To: After Effects Mail List References: Message-id: <5CD2BF38-86E8-4F9B-B8A1-A1B81994456E@me.com> X-Mailer: Apple Mail (2.1283) --Apple-Mail=_682DCC15-40B7-4C0A-8F43-BD887D7E4620 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=utf-8 I haven't captured a tape in about five years. I defer to your = expertise, Steve. =20 At this point, I courier my tapes with a drive to and from a service = bureau. =20 It's a wonderful time to be an at-home editor. On Jul 25, 2013, at 6:19 PM, Steve Oakley wrote: > 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. >=20 > 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 :( >=20 > S >=20 > On Jul 25, 2013, at 12:25 PM, Jim Curtis wrote: >=20 >> 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 >=20 --Apple-Mail=_682DCC15-40B7-4C0A-8F43-BD887D7E4620 Content-Transfer-Encoding: quoted-printable Content-Type: text/html; charset=utf-8 I = haven't captured a tape in about five years.  I defer to your = expertise, Steve.  

At this point, I = courier my tapes with a drive to and from a service bureau. =  

It's a wonderful time to be an at-home = editor.




On Jul 25, 2013, at 6:19 PM, Steve Oakley wrote:

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