Mailing List AE-List@media-motion.tv ? Message #64712
From: Michael Powers <AE-List@media-motion.tv>
Subject: RE: [AE] Greenscreen s-log2 workflow queries for the color spaced challenged
Date: Tue, 11 Dec 2018 16:49:41 +0000
To: After Effects Mail List <AE-List@media-motion.tv>
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This thread from 2018-02-02 was the last thread from AE-List I can view as a group conversation using Outlook 2016 on a windows10 machine. Is anyone else experiencing this?

 

From: After Effects Mail List <AE-List@media-motion.tv>
Sent: Friday, February 2, 2018 10:11 AM
To: After Effects Mail List <AE-List@media-motion.tv>
Subject: Re: [AE] Greenscreen s-log2 workflow queries for the color spaced challenged

 

Hi Roei

 

That 200% view looked a very messed up debayered footage. Maybe Sony have changed something in their raw format that the Adobe Sony raw importer cant debayer correctly?

 

Its been quite long time since i have worked with Sony raw footage, but by your explaination i can see there not has been much if any progress at Adobe to better support Sony Cinealta raw images. What i found was that Adobe reads it with an rec709 profile as default, and as many Sony camera operators are overexposing by 1 or 2 stops to get better noiselevels it then looks totally blown out as default in Adobe. But i see that the guy who shot what you are working on didn't overexpose on purpose :-)

So in the past i have always gone through the Sony Raw Converter, that is the most secure way to get good results. In that app you also can change more raw settings than in Adobe that last time i looked only had 1 setting: Rec709 or Slog2 color. That the camera was set to Slog2 should be detected in the Sony Raw app, but that is just what they exposed to on set, you can change it to Slog3 in the app if you want and you see it getting better results for your work.

 

Just make sure that you are not supposed to deliver your comped footage in Slog2, since that might what they want in the grading stage. Now that you have keyed and comped in Rec709 it might be hard to deliver a right Slog2 back to them?

 

Hope you dont have to redo too much work if that is required

 

Robert

 

 

 

 

2018-01-31 3:24 GMT+01:00 Roei Tzoref <AE-List@media-motion.tv>:

hey y'all. 

 

so I got a footage to key and roto. I have been told it's 444  so was pleased.

 

it was an mxf file, imported to Ae and saw it was stated as RAW. I saw the color and contrast was good and immediately got to work.

 

this is how it looked in Ae:

 

on 200% it looked a bit funky but I just ignored it (WRONG!) and carried on.

 

 

about 80% into the project it started to bug me so I asked the cameraman and indeed something was off. so he told me I should download RAW viewer and export from there. so imported the file to the software, and now I was faced to decide which input parameters to enter. I obviously wanted the exact same color profile I had in Ae but how could I know which one is it.  I was told the footage was shot in Sony f5, slog2, raw. but I already keyed the footage on what appears to be some sort of rec709 color space. so I entered those in the Raw app and exported a dpx 444 (the only option for 444) with these settings:

 

and now it's about 90% what it was before, some keying had to be readjusted but I am in the clear for finishing the project

 

now I know this is a mess of a workflow my questions is:

1. is there a reason the footage came distorted like this from the camera and I had to use the RAW viewer software to reexport it?

2. what was the color profile on this RAW footage? is there a way to tell? how can I know to match it if I get this type of scenario again?

3. what would be the right way to work? export from RAW viewere as s-log2, then in Ae convert to linear and key? I have looking into http://opencolorio.org/ but after converting from slog2 to ACES, the image looks too contrasty for keying. 

 

thanks

 

 

 

 
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