Return-Path: Received: from atl4mhob10.myregisteredsite.com ([209.17.115.48] verified) by media-motion.tv (CommuniGate Pro SMTP 4.2.10) with ESMTP id 5164135 for AE-List@media-motion.tv; Fri, 02 Aug 2013 02:24:23 +0200 Received: from mailpod.hostingplatform.com ([10.30.71.206]) by atl4mhob10.myregisteredsite.com (8.14.4/8.14.4) with ESMTP id r720ZsVZ019299 for ; Thu, 1 Aug 2013 20:35:54 -0400 Received: (qmail 32257 invoked by uid 0); 2 Aug 2013 00:35:54 -0000 X-TCPREMOTEIP: 76.169.86.67 X-Authenticated-UID: torno@sydefxink.com Received: from unknown (HELO ?192.168.0.16?) (torno@sydefxink.com@76.169.86.67) by 0 with ESMTPA; 2 Aug 2013 00:35:54 -0000 Subject: Re: [AE] ASC_SOP & ASC_SAT values References: From: David Torno Content-Type: text/plain; charset=us-ascii X-Mailer: iPhone Mail (10B329) In-Reply-To: Message-Id: Date: Thu, 1 Aug 2013 17:35:53 -0700 To: After Effects Mail List Content-Transfer-Encoding: quoted-printable Mime-Version: 1.0 (1.0) Well, we just got the DLP.ccc file with all 27 (not 4 apparently) CDL looks a= nd their ID numbers. Hurray. Just have to manually match each CDL with the e= dit references since not all of the scenes have CDL ID assignments on the ca= mera reports. I am literally building a script that houses all 27 CDL settin= gs that will allow me to easily choose a CDL ID and auto apply it to the foo= tage. Ridiculous. All I hear is the Benny Hill theme in my head at this poin= t. :) David Torno Visual Effects Artist & Supervisor http://www.ghosttownmedia.com O: 213.739.2290 C: 818.391.6060 --------------------- http://www.sydefxink.com http://aeioweyou.blogspot.com http://mactex.blogspot.com "The most useless day is that in which we do not laugh" -Charles Field On Aug 1, 2013, at 2:02 PM, "David Torno" wrote: > Hmmm, well that's good to know for us. The news I've been told through a c= all a moment ago is that the dailies operator applied the look on set and he= claims that the CDL data he applied is in the raw clip metadata. They then t= ranscoded clips on set, and those went to edit. Color has the raw media and t= hey are giving us 10bit DPX image sequences. Seems like color and/or the dai= lies operator has the info we need, but we can't get it from them. >=20 >=20 > -- > David Torno > Visual Effects Artist and Supervisor > http://www.ghosttownmedia.com > david@ghosttownmedia.com > O: 213.739.2290 > C: 818.391.6060 > ------------------------------------------------ > http://www.sydefxink.com (main portfolio) > http://aeioweyou.blogspot.com (vfx tutorials and AE scripts blog) > http://mactex.blogspot.com (free textures blog) >=20 > -----Original Message----- > From: Erik Hansen [mailto:eahansen@gmail.com] > Sent: Thursday, August 1, 2013 01:43 PM > To: 'After Effects Mail List' > Subject: Re: [AE] ASC_SOP & ASC_SAT values >=20 > F65 has no internal/metadata look/LUT capabilities, yet. The only way to > handle this is the hard way - camera reports. The "look" needs to be > written down on the camera report, then the dailies operator has to apply > that "look" to the footage. Whether that is actual CDL values, or a create= d > LUT, etc... >=20 > The problem with the F65 is you also need to know the color pipeline of ho= w > that "look" was created and the footage recorded - F65RAW? SLog2/SGamma? > Rec709? What was being monitored to apply the look to? Does that match how= >=20