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charset=UTF-8 Content-Transfer-Encoding: quoted-printable Thnx Ken. That helps me narrow it down. I=E2=80=99m looking for some app = to modify the Conversation ID in the header =E2=80=93 mb that=E2=80=99ll = fix it. I wonder if the AE-List changed servers around then? From: After Effects Mail List Sent: Tuesday, December 11, 2018 12:31 PM To: After Effects Mail List Subject: Re: =5BAE=5D Greenscreen s-log2 workflow queries for the color = spaced challenged Yes and it=E2=80=99s very annoying. Also the case in the Outlook app on = iPad. Get Outlook for iOS ________________________________ From: After Effects Mail List = > on behalf of = Michael Powers > Sent: Tuesday, December 11, 2018 10:50 AM To: After Effects Mail List Subject: Re: =5BAE=5D 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 = else experiencing this? From: After Effects Mail List = > Sent: Friday, February 2, 2018 10:11 AM To: After Effects Mail List = > Subject: Re: =5BAE=5D 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 = >: 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: https://imgur.com/a/ZkcQ0 on 200% it looked a bit funky but I just ignored it (WRONG=21) and carried = on. https://imgur.com/a/j7eyG 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: 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 = 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. https://imgur.com/a/K0YYZ thanks ________________________________ --_000_DM5PR10MB1819B221A7A3F43754FF487DDEA60DM5PR10MB1819namp_ Content-Type: text/html; charset=UTF-8 Content-Transfer-Encoding: quoted-printable <=21--=5Bif =21mso=5D><=21=5Bendif=5D--><=21--=5Bif gte mso 9=5D> <=21=5Bendif=5D--><=21--=5Bif gte mso 9=5D> <=21=5Bendif=5D-->

Thnx Ken. That helps me narrow it down. = I=E2=80=99m looking for some app to modify the Conversation ID in the header =E2=80=93 mb that=E2=80=99ll fix it. = I wonder if the AE-List changed servers around then?

 

From: After Effects Mail List = <AE-List=40media-motion.tv>
Sent: Tuesday, December 11, 2018 12:31 PM
To: After Effects Mail List <AE-List=40media-motion.tv>
Subject: Re: =5BAE=5D Greenscreen s-log2 workflow queries for the = color spaced challenged

 

Yes and it=E2=80=99s very annoying.  Also = the case in the Outlook app on iPad.

 

 

From: = After Effects Mail List <ae-list=40media-motion.tv= > on behalf of Michael Powers <ae-list=40media-motion.tv= >
Sent: Tuesday, December 11, 2018 10:50 AM
To: After Effects Mail List
Subject: Re: =5BAE=5D 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 else experiencing this?

 

From: After Effects Mail List <AE-List=40media-motion.tv= >
Sent: Friday, February 2, 2018 10:11 AM
To: After Effects Mail List <AE-List=40media-motion.tv= >
Subject: Re: =5BAE=5D 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&=2343;01:00 Roei Tzoref = <AE-List=40media-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=21) 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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