........ when I view the DPX files the contrast and colours are wrong - when I worked on Flint you had to have the correct colour space on the project file to view input images correctly - maybe it is different on AE - perhaps AE automaticaly sets things up...
........ or have I just got a naff render --- done by a London facility so I cant check it here.
------------------------------------------- cheers --- chris --
[chris brett]"when I worked on Flint you had to have the correct colour space on the project file to view input images correctly"
It's the same with Ae, and that's what Tero is describing. You'll need to tell Ae how to handle the footage. You can do one of few workflows:
1) Enable color management by choosing a working space for your project in Project Settings. This will allow you to use Interpret Footage to assign a color profile for your assets.
2) Skip Ae's color management and do your color management by hand. Precompose your DPX sequence and apply the Color Profile Converter effect to the footage. You can use that to specify what the source footage should be.
If you're using Ae's color management, then just make sure that you're either using your final output space as the working space, or in case you're working on a different space than you outputting to, that you've set the correct destination space in the Color Management tab of the output module.
If you're managing color manually, then make sure that you're transforming incoming clips to the standard you want, or that you are using an adjustment layer or similar above your comp to transform to your output space.
You may choose to do all this in Rec. 709 if your destination is HD.
If you have any specific questions on what to do or what's going on behind the scenes, I'm happy to try to answer.
[chris brett]"would be very interested to know if you use a linear colourspace - been reading some very good things about it"
Often, but not always.
I almost always use a linear workflow for 3D renders or straight-up compositing for the more natural light calculations. I often use a linear workflow for mograph -- it can yield significantly better motion blur.
Not everything is better in linear. Color correction tools tend to feel more natural in a gamma-encoded space (though you can sandwich them between color profile conversions to cheat and get the best of both worlds). Dissolves don't feel right. Other artists don't always understand linear workflow, so collaboration can be hard.