From: "Ken Teutsch" Received: from [40.92.9.103] (HELO NAM04-BN3-obe.outbound.protection.outlook.com) by media-motion.tv (CommuniGate Pro SMTP 6.1.0) with ESMTPS id 7212099 for ae-list@media-motion.tv; Tue, 11 Dec 2018 18:23:18 +0100 DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=hotmail.com; s=selector1; h=From:Date:Subject:Message-ID:Content-Type:MIME-Version:X-MS-Exchange-SenderADCheck; bh=BDngW26cHf4GuY1TiHB3F4OPfD1uP1uLwRS/31TAB14=; b=Y+uZxFSmHvApJhBOl0H64QE7lVRodtP2RSp1V4V3ae/mWNMv6yY+z+0bEltGgpvdYiugJHKI9Qk6DH+KfT+skPqS7T1M2ljD9iBHJaQFDhrX+tr3g3+ruDISJyyHuegu7Yh14+bM3XDCAwBO9X5w5BUSM8XxDJB1InhEGofg/HtCXDWnDmucJuHqktZJgBsQF0AC4j0lkwbXh9pE0s1F7NN7ZFewnxdOd+f5bfRu2nFBI4nAdTFmPCibjul3wWhV+BZlNnyC+rzOce+IV+b8IWqRhLxmUgoBe/MM5OVuwbDJI2GpihUAGe0NtlJniD6brL1v7fpo+D6oP6vNIJsSKw== Received: from SN1NAM04FT008.eop-NAM04.prod.protection.outlook.com (10.152.88.51) by SN1NAM04HT219.eop-NAM04.prod.protection.outlook.com (10.152.89.88) with Microsoft SMTP Server (version=TLS1_2, cipher=TLS_ECDHE_RSA_WITH_AES_256_CBC_SHA384) id 15.20.1425.16; Tue, 11 Dec 2018 17:31:28 +0000 Received: from DM5PR0701MB3800.namprd07.prod.outlook.com (10.152.88.59) by SN1NAM04FT008.mail.protection.outlook.com (10.152.88.143) with Microsoft SMTP Server (version=TLS1_2, cipher=TLS_ECDHE_RSA_WITH_AES_256_CBC_SHA384) id 15.20.1425.16 via Frontend Transport; Tue, 11 Dec 2018 17:31:28 +0000 Received: from DM5PR0701MB3800.namprd07.prod.outlook.com ([fe80::58fe:b121:f0db:de81]) by DM5PR0701MB3800.namprd07.prod.outlook.com ([fe80::58fe:b121:f0db:de81%2]) with mapi id 15.20.1425.016; Tue, 11 Dec 2018 17:31:28 +0000 To: After Effects Mail List Subject: Re: [AE] Greenscreen s-log2 workflow queries for the color spaced challenged Thread-Topic: [AE] Greenscreen s-log2 workflow queries for the color spaced challenged Thread-Index: AQHUkXGXxY1ZfdbNjU6F0gSqD9URcKV5y6FS Date: Tue, 11 Dec 2018 17:31:28 +0000 Message-ID: References: In-Reply-To: Accept-Language: en-US Content-Language: en-US X-MS-Has-Attach: X-MS-TNEF-Correlator: x-incomingtopheadermarker: OriginalChecksum:3E61C890A41D70641D9619A655EB6334025DF6606EDEA1A2BC8289688FC8DD8C;UpperCasedChecksum:E74C1960D2598EE1BFDA672E5ECCC8A8A681926A34B82F162862E30296D5C53D;SizeAsReceived:6979;Count:45 x-ms-exchange-messagesentrepresentingtype: 1 x-tmn: [fAfN7fFItH0cQF38aOHD4ZwtRCwNW7eN] x-ms-publictraffictype: Email x-microsoft-exchange-diagnostics: 1;SN1NAM04HT219;6:unmYTex35k7s1L8TWgfUSO5KOsB1gyIGIVN0mDKmKkm9xhWcQ571M8btjaIWxDW1fu/M6Y1AEv2EZchV0ePI1uQXkOecjh5h90YaB88OmwNAbqeYFMEh0fG8Nb1dOvunQfoo4N2Krfy5AEA6Rb9BoyLSn1AcNcgF43fd7Dvb3NiUyHXkUMkpxBjYIbj6/64p5F+fUG0mdfk3FCZyUAoUvFOEh1MF33/KYTyRiGh0XElZtWjZ8oo8Uhmx0zurKK6BLcOV21owEZlxnxRxAJ8FxvaxCkgnAGa/qixf/FRy0so4IuX3u4JcYWALu6ySAIH98lQIMajCCYZAzThoMpOLhIrZ6SDeVnuS0reHwoVZFSqVlm2UZZvhCfqtJS4UKlX4zAk3BKup2CXpvnPwViK0CmEeYxZQg47d10nXQRRStLJ/ttseZVuQQpgg1j21gGYMypJ1W7zkRpEwfBIq0wTovw==;5:+BNNv9RnsJ8CjCTzTge5cfZiIAB2onCyQyBxsw7M5FyK6VBzTFY9Pj4ObFhIdACITwRn8fcxgXziPx6kNHuClkROLPKJzZEHGl4BMSdugxS15ybFQredmmycQ7/Uhj2TEMZMMvSi8Mietsmfi908AmRC29fxA22qmO8uC6wfFQI=;7:tVVZFzNWlFnEswHTRwck/nd7F6dKWFQwYw5qMXRsJ+GRqunbRPJWlsDjZVuPSvVSmUgZcUwDKM6DiflxUgeO1u1wwwBoLPRt0mjddqYtMtve9RR8HmNk6Jc5DpXIZ7b1zeijGfhoUaXo6p8y3P4N5w== x-incomingheadercount: 45 x-eopattributedmessage: 0 x-microsoft-antispam: BCL:0;PCL:0;RULEID:(2390098)(7020095)(201702061078)(5061506573)(5061507331)(1603103135)(2017031320274)(2017031324274)(2017031323274)(2017031322404)(1603101475)(1601125500)(1701031045);SRVR:SN1NAM04HT219; x-ms-traffictypediagnostic: SN1NAM04HT219: x-exchange-antispam-report-cfa-test: BCL:0;PCL:0;RULEID:(4566010)(82015058);SRVR:SN1NAM04HT219;BCL:0;PCL:0;RULEID:;SRVR:SN1NAM04HT219; x-microsoft-antispam-message-info: /HXUqEIIJLzPXpm5vXFYLz4MHo3hVfQdGsT1oZIzxObDs3fPYVk/b8XAG9Q5JuA9 Content-Type: multipart/alternative; boundary="_000_DM5PR0701MB3800DCBA4A0D327ADC899B6FC7A60DM5PR0701MB3800_" MIME-Version: 1.0 X-OriginatorOrg: hotmail.com X-MS-Exchange-CrossTenant-RMS-PersistedConsumerOrg: 5dab7a8a-ebdc-4bd9-9cfd-67cde50b170b X-MS-Exchange-CrossTenant-Network-Message-Id: c97ec3b8-8e8e-49de-42cc-08d65f8e7b84 X-MS-Exchange-CrossTenant-rms-persistedconsumerorg: 5dab7a8a-ebdc-4bd9-9cfd-67cde50b170b X-MS-Exchange-CrossTenant-originalarrivaltime: 11 Dec 2018 17:31:28.0713 (UTC) X-MS-Exchange-CrossTenant-fromentityheader: Internet X-MS-Exchange-CrossTenant-id: 84df9e7f-e9f6-40af-b435-aaaaaaaaaaaa X-MS-Exchange-Transport-CrossTenantHeadersStamped: SN1NAM04HT219 --_000_DM5PR0701MB3800DCBA4A0D327ADC899B6FC7A60DM5PR0701MB3800_ Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable Yes and it=92s very annoying. Also the case in the Outlook app on iPad. Get Outlook for iOS ________________________________ From: After Effects Mail List on behalf of Michae= l Powers Sent: Tuesday, December 11, 2018 10:50 AM To: After Effects Mail List Subject: Re: [AE] Greenscreen s-log2 workflow queries for the color spaced = challenged 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 e= lse experiencing this? From: After Effects Mail List Sent: Friday, February 2, 2018 10:11 AM To: After Effects Mail List 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 c= hanged 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 Adob= e to better support Sony Cinealta raw images. What i found was that Adobe r= eads it with an rec709 profile as default, and as many Sony camera operator= s 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 t= he most secure way to get good results. In that app you also can change mor= e raw settings than in Adobe that last time i looked only had 1 setting: Re= c709 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 ch= ange it to Slog3 in the app if you want and you see it getting better resul= ts 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 h= ave keyed and comped in Rec709 it might be hard to deliver a right Slog2 ba= ck 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 >: hey y'all. so I got a footage to key and roto. I have been told it's 444 so was pleas= ed. 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: https://imgur.com/a/ZkcQ0 on 200% it looked a bit funky but I just ignored it (WRONG!) and carried on= . https://imgur.com/a/j7eyG about 80% into the project it started to bug me so I asked the cameraman an= d 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 face= d to decide which input parameters to enter. I obviously wanted the exact s= ame 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 f= ootage 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: https://imgur.com/a/wgewj 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 a= nd 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://opencolori= o.org/ but after converting from slog2 to ACES, the image looks too contras= ty for keying. https://imgur.com/a/K0YYZ thanks --_000_DM5PR0701MB3800DCBA4A0D327ADC899B6FC7A60DM5PR0701MB3800_ Content-Type: text/html; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable
Yes and it=92s very annoying.  Also the= case in the Outlook app on iPad.

Get Outlook for iOS
 
From: Aft= er Effects Mail List <ae-list@media-motion.tv> on behalf of Michael P= owers <ae-list@media-motion.tv>
Sent: Tuesday, December 11, 2018 10:50 AM
To: After Effects Mail List
Subject: Re: [AE] Greenscreen s-log2 workflow queries for the color = spaced challenged
 

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 any= one else experiencing this?

 

From: After Effects Mail List <AE-List@med= ia-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 look= ed 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 So= ny 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 overex= posing by 1 or 2 stops to get better noiselevels it then looks totally blow= n out as default in Adobe. But i see that the guy who shot what you are wor= king on didn't overexpose on purpose :-)

So in the past i have always gone through the Sony R= aw 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 detecte= d in the Sony Raw app, but that is just what they exposed to on set, you ca= n change it to Slog3 in the app if you want and you see it getting better r= esults 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 gradin= g stage. Now that you have keyed and comped in Rec709 it might be hard to d= eliver 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 st= ated as RAW. I saw the color and contrast was good and immediately got to w= ork.

 

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 d= ownload RAW viewer and export from there. so imported the file to the softw= are, and now I was faced to decide which input parameters to enter. I obviously wanted the exact same color p= rofile I had in Ae but how could I know which one is it.  I was told t= he footage was shot in Sony f5, slog2, raw. but I already keyed the fo= otage 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 keyi= ng 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? i= s there a way to tell? how can I know to match it if I get this type of sce= nario 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.or= g/ but after converting from slog2 to ACES, the image looks too contras= ty for keying. 

 

thanks

 

 

 

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