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Re: RED footage and Exporting color accurate EXRs

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Andrew Somers
Re: RED footage and Exporting color accurate EXRs
on Aug 12, 2019 at 5:57:49 am
Last Edited By Andrew Somers on Aug 12, 2019 at 4:01:27 pm

Hi Jack,

I am a little unclear on what you need to be doing — did you just want to compare the EXRs you're generating out of Fusion to see that they match?

Based on the AE histogram, it looks like you have softclipping. But the upshot here is that you must have different settings for R3D import for AE vs what you are doing in Fusion.

Try: make a note of all the values for the R3D conversion in Fusion, and then apply those values in the R3D importer in AE (lower left "more" in the import dialog).

Adobe has a tendency to set their defaults to do things like soft clip, it seems clear that the RAW convert settings are different in the two apps.

"Preserve RGB" won't help because R3D are not RGB, they are RAW and need debayering first, and there are plenty of adjustments to control that, that can (and obviously are) different between AE and Fusion.

OTHER NOTES:

Use EXR
If your colorist wants "full control" then use EXR and not DPX. DPX is only 10 bit integer, EXR is 16 but float, and the difference is non trivial. USE EXR for intermedia steps whenever possible.

DPX is a depreciated format IMO, especially for intermediate stages.

Never use ProPhoto
ALSO: You mentioned once using ProPhoto - I recommend never, ever, using ProPhoto for any video/film project. The most important reason is that ProPhoto uses a D50 white point, and video/film is almost always D65 (D63 for DCI P3). Using a D50 whitepoint means that all your D65 footage has to undergo a Bradford matrix into D50, and will have to undergo that *again* from D50 to D65 on the way back out.

These needless transformations can result in a lot of unexpected color problems and artifacts. A second issue with ProPhoto is that is uses IMAGINARY primaries — the ProPhoto gamut includes colors that do not exist in reality including some that are NEGATIVE.

It is shocking to me that A Dough Bee suggests using ProPhoto in some of their documentation for color management and film. It should NEVER be used in our workflows. ProPhoto is mainly useful for photo editing for print destinations, as it allows you to work in RGB without clipping for a CMYK output.

FOR FILM: If you want to work in an ultra-big gamut, consider ACEScg, the cgi version of ACES, designed for VFX workflows.



Andrew Somers
VFX & Title Supervisor
https://www.GeneralTitles.com


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