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Alas it’s not for a film out as my last film outs we’ve used 16-bit TIFFs and LUTs. This is for E&S fulldome 8K. Thus my rustiness on the procedure as I last sent DPXs to Fotokem maybe 8 years ago.
From: After Effects Mail List <AE-List@media-motion.tv>
Sent: Wednesday, August 15, 2018 3:38 PM
To: After Effects Mail List <AE-List@media-motion.tv>
Subject: Re: [AE] Urgent Cineon export questions
Excellent! Hope you get good-looking film outs! There are a lot of very old problems which I’m sure will never be fixed
On Aug 15, 2018, 12:34 PM -0700, Stephen van Vuuren <AE-List@media-motion.tv>, wrote:
Just wanted to thank you again – you are exactly right – doing the AL and converter results in perfect conversion back. Export render settings does not. My brain started to recall
that issue when messing with it.
Or you were Linear Light. But that doesn’t seem like the case.
On Aug 15, 2018, 11:47 AM -0700, Stephen van Vuuren <AE-List@media-motion.tv>, wrote:
PS. I don’t know if I have “overwhites” – I don’t have any true clipping in the 16-bit master, that would only apply if I were using floating point, correct?
Stephen,
Gamma is meant to match your display target, so that the files look the same on any display.
Black point should be 95, and the 90% white point to taste - 685 is spec, but I usually went to 710 or so. Do you have over-whites you want to define?
Yes, you should be going Lin to log.
BTW, check your settings by adding another AL with Cineon set to a interpret from log to Lin, display gamma whatever your display is set at, 95 and 685, as a print predictor.
On Aug 15, 2018, 11:27 AM -0700, Stephen van Vuuren <AE-List@media-motion.tv>, wrote:
It's been years since I delivered log cineon file and sleep deprived brain is not working. Client is asking for:
" DPX (Cineon) format, 10 bit color, P3-D65 color space"
I confirmed they want log not linear. My project is 16-bit, I've set it to P3- D65 color space. Export will be CC 2014 (for speed). I assume Cineon export still does conversion linear to log since there is checkbox still for "logarithmic conversion" which I've
check and set unit to 16-bit.
However, unclear on if anything else from "full range preset" needs to be adjusted e.g. ' current gamma is 1" - should that not be 2.4 (which was my calibration target)?
Googling shows people doing all sorts of thing.
Stephen
-----Original Message-----
From: After Effects Mail List <AE-List@media-motion.tv>
Sent: Wednesday, August 15, 2018 12:56 PM
To: After Effects Mail List <AE-List@media-motion.tv>
Subject: Re: [AE] Major Ae project corruption - and how I fixed it.
Importing troublesome projects has saved me many times.
On 8/15/2018 12:25 PM, Jim Curtis wrote:
After working on this project for a week, my iStat menus are reporting that all 12 cores are at 100% when I just have Ae running and no comps even open. Computer is correspondingly
very sluggish and beach-bally (OSX).
I deleted prefs and un- and re-installed Ae and it persisted.
It only happens with one project that’s gotten pretty large - lots of tracking and 3D camera solves. Keyframes galore. Each save takes around 30 seconds.
I think I fixed it. It was laborious:
I have 10 comps in the corrupt Project.
Select Comp 01, Reduce Project, Save As “Comp 01-100” (100 is for my
CPUs pegging at 100%) Create New Project.
Import Comp 01-100 - CPU levels go back to normal: what I expect for an idling Ae Project.
Save as "Comp 01 only.”
Repeat process after opening original 10-com corrupt project for all 10 Comps.
I might import all 10 Comps into a master Project again, but only after I start feeling lucky again.
Posting this in case anybody else runs into a similar issue.
Epilog / PS. This didn’t work on one Comp. So, I opened the Comp. Select all Layers. Copy. Create New Project and Comp. Paste. Relink footage. I got an error message telling my footage was tracked on a 360 x 180 layer (??? - Not true), but my tracking data
was fine. I just deleted the Mocha Pro plug-in that created the data, and all is well. Save.
.
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