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| Well, we just got the DLP.ccc file with all 27 (not 4 apparently) CDL looks and their ID numbers. Hurray. Just have to manually match each CDL with the edit references since not all of the scenes have CDL ID assignments on the camera reports. I am literally building a script that houses all 27 CDL settings that will allow me to easily choose a CDL ID and auto apply it to the footage. Ridiculous. All I hear is the Benny Hill theme in my head at this point. :) 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" <torno@sydefxink.com> wrote: > Hmmm, well that's good to know for us. The news I've been told through a call 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 transcoded clips on set, and those went to edit. Color has the raw media and they are giving us 10bit DPX image sequences. Seems like color and/or the dailies operator has the info we need, but we can't get it from them. > > > -- > 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) > > -----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 > > 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 created > LUT, etc... > > The problem with the F65 is you also need to know the color pipeline of how > 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 > |
