Return-Path: Received: from mail-la0-f48.google.com ([209.85.215.48] verified) by media-motion.tv (CommuniGate Pro SMTP 4.2.10) with ESMTP-TLS id 5299023 for AE-List@media-motion.tv; Wed, 27 Nov 2013 13:55:38 +0100 Received: by mail-la0-f48.google.com with SMTP id n7so5227799lam.35 for ; Wed, 27 Nov 2013 04:57:53 -0800 (PST) DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=mime-version:in-reply-to:references:date:message-id:subject:from:to :content-type; bh=yVuj3goUkx+9zaZlibEGCgWCvloA4STUXUMuS6mqSUU=; b=FFqq2Srw7vB6ByBg3vbmwIq+7KF0jZeE8i99nWPfQUSbPYMHB96FB6bVjftpioDd8O Ks/plb+XVNsWZUUp27/dqeoON43wyoSkIW5RqPZid1usYpfO77k5Icet2hIO2SqlqkRO wWIPcGdTUVEYrd1weIjczUzbr8hasHWcM1snJVuYCiXDUqdaU9SPX+2yxmvkbvKwNb/w ZUj/PTuo8CzRO48VM1HhNFwqGEgYl32jU0B7EV4Yc0mEwy7iRoBk174goL90X5W0sADb bk6EoDemeuNVd1I1Jn3i4HvRvcPn3Qbpo8+BEDif2CunxeboO8NYxt7ZJiJx7kaHumvT 5Mjw== MIME-Version: 1.0 X-Received: by 10.112.204.74 with SMTP id kw10mr28011845lbc.13.1385557073588; Wed, 27 Nov 2013 04:57:53 -0800 (PST) Received: by 10.112.125.98 with HTTP; Wed, 27 Nov 2013 04:57:53 -0800 (PST) In-Reply-To: References: Date: Wed, 27 Nov 2013 13:57:53 +0100 Message-ID: Subject: Re: [AE] DPX color space From: =?ISO-8859-1?Q?Simon_Bj=F6rk?= To: After Effects Mail List Content-Type: multipart/alternative; boundary=001a11c3bb342ff4fd04ec2825b5 --001a11c3bb342ff4fd04ec2825b5 Content-Type: text/plain; charset=ISO-8859-1 >From what I can see, you can't set the color-space of ArriRaw files in AME. In a quick test, it seems to output LogC though, which is what you want. The main problem is that After Effects doesn't ship with a LogC ICC profile, which means that After Effects can't linerize the logC dpx correctly. To solve this, you have two options, both involve the OpenColorIO plug-in from fnord (Brendan Bolles) . *1 - Use OpenColorIO in you project (prefered)* - Leave the interpret footage as default (project working space). - Drop the footage in a new composition and apply the OpenColorIO with Nuke settings. Set input colorspace to AlexaV3LogC and output to linear. Use this comp as your source as you work. - You have now linearized your footage and After Effects color management works (display simulation etc). *2 - Convert to Cineon* - If you don't want to use OpenColorIO in your main project (for reasons I can't think of), you must convert the LogC files to a colorspace that After Effects can handle (for example a Cineon log curve). - Start a new project, set it to 32bpc (16-bit should work as well), and no color management. - Apply OpenColorIO with Nuke settings, and set input colorspace to AlexaV3LogC and output to Cineon. - Render new dpx sequence. - Import new sequence into your main project, leave them main interpret settings at default, but in the Cineon settings, adjust the preset to Over Range, adjust gamma to 1, and set units to decimal. - You have now linearized your footage and After Effects color management works (display simulation etc). To sum up, After Effects color handling definitely needs an update. Cheers! 2013/11/27 Erik Hansen > Not sure what kind of support AME has for ARRIRAW files. You might be > better off with Resolve Lite (up to UHD) or ARRI's own ARC - ARRI Raw > Converter. You want to end up with a LogC image at the correct white > balance and ISO -- extracted from the metadata or can be corrected in > either of those tools. > > LUTs are built for specific parameters, I wouldn't expect just any LUT to > work on something it wasn't built for. You could build a "more correct" LUT > on ARRI's website, if you know the parameters on how it was created and > what you need to output. But saying that, if this is just for viewing your > composite and not baked in... eh... you might be fine. > > Erik > > > Erik Hansen > 323-316-3731 > @error1k > > > On Tue, Nov 26, 2013 at 8:27 AM, Byron Nash wrote: > >> I'm trying to get my color settings correct and am somewhat confused. >> Here is is my setup: >> >> - 32Bit Ae project >> - sRGB color space >> - linearize working space enabled >> >> I exported the ARRIRAW sequence with AME to a DPX sequence. Import into >> AE and it says it's in linear space in interpret footage. >> >> On the layer, I'm adding a LUT I got from the ARRI website that we use a >> lot for S-Log clips. The file still looks washed out. But if I put a >> .4545(reverse of 2.2) gamma with a levels effect, it looks like what we saw >> on set. >> >> Does that sound right? Or am I missing or messing something up? I don't >> normally work with DPX files. >> > > --001a11c3bb342ff4fd04ec2825b5 Content-Type: text/html; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable
From what I can see, you can't set the color-space of = ArriRaw files in AME. In a quick test, it seems to output LogC though, whic= h is what you want. The main problem is that After Effects doesn't ship= with a LogC ICC profile, which means that After Effects can't linerize= the logC dpx correctly. To solve this, you have two options, both involve = the OpenColorIO plug-in from=A0fnord (Brendan Bolles).

1 - Use OpenColorIO in you project (prefered)

- Leave the interpret footage as default (project working= space).
- Drop the footage in a new composition and apply the Op= enColorIO with Nuke settings. Set input colorspace to AlexaV3LogC and outpu= t to linear. Use this comp as your source as you work.
- You have now linearized your footage and After Effects color managem= ent works (display simulation etc).

2 - Convert= to Cineon

- If you don't want to use Open= ColorIO in your main project (for reasons I can't think of), you must c= onvert the LogC files to a colorspace that After Effects can handle (for ex= ample a Cineon log curve).
- Start a new project, set it to 32bpc (16-bit should work as well), a= nd no color management.
- Apply OpenColorIO with Nuke settings, a= nd set input colorspace to AlexaV3LogC and output to Cineon.
- Render new dpx sequence.
- Import new sequence into your main p= roject, leave them main interpret settings at default, but in the Cineon se= ttings, adjust the preset to Over Range, adjust gamma to 1, and set units t= o decimal.
- You have now linearized your footage and After Effects color managem= ent works (display simulation etc).

To sum up, Aft= er Effects color handling definitely needs an update.

Cheers!


2013/11/27 Erik Hansen <eahansen@gmail.com>
<= blockquote class=3D"gmail_quote" style=3D"margin:0 0 0 .8ex;border-left:1px= #ccc solid;padding-left:1ex">
Not sure what kind of support AME has for ARRIRAW files. Y= ou might be better off with Resolve Lite (up to UHD) or ARRI's own ARC = - ARRI Raw Converter. You want to end up with a LogC image at the correct w= hite balance and ISO -- extracted from the metadata or can be corrected in = either of those tools.

LUTs are built for specific parameters, I wouldn't expec= t just any LUT to work on something it wasn't built for. You could buil= d a "more correct" LUT on ARRI's website, if you know the par= ameters on how it was created and what you need to output. But saying that,= if this is just for viewing your composite and not baked in... eh... you m= ight be fine.

Erik


Erik Hansen
323-3= 16-3731
@error1k


On Tue, Nov 26, 2013 at 8:27 AM, Byron N= ash <byronnash@gmail.com> wrote:
I'm trying to get my color settings correct and am som= ewhat confused.=A0
Here is is my setup:
  • 32Bit Ae proj= ect
  • sRGB color space
  • linearize working space enabled
    • I exported the ARRIRAW sequence with AME to a DPX sequence. Import int= o AE and it says it's in linear space in interpret footage.
=

On the layer, I'm adding a LUT I got from the ARRI = website that we use a lot for S-Log clips. The file still looks washed out.= But if I put a .4545(reverse of 2.2) gamma with a levels effect, it looks = like what we saw on set.=A0

Does that sound right? Or am I missing or messing somet= hing up? I don't normally work with DPX files.


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