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Weird colors DCP with TIFFs from After Effects
Usually we bake our DCPs with DCPBuilder and we got pretty good results. Our usual workflow is entirely HD (bt709) and in the final steps we export tiffs from premiere or fcp and then we produce the DCP selecting “bt709” as the input color space. Colors are corresponding without great shifts.
For this project I am working entirely in AE, and I did a DCP for a test screening, results: paler colors and gamma much higher, resulting in a brighter image, very different from the source TIFFs.
What I did:
I exported 16bit tiffs from AE (color management: none) and tried the usual workflow.Second test, I tried to change the color space to “Universal Camera Printing Density” (project set @32bit) and rendered as DCDM 2.6 XYZ TIFF as a lot of people suggested in other forums (XYZ as input in DCPBuilder).
I even tried an srgb export (srgb color space in AE and then in DCPBuilder).
I really can’t understand why the color shift is still here, whatever I try…where is the flaw in my workflow?
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5 Replies
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bt.709 is Rec. 709 in AE. Choose that as working space and see if that does the trick. If you still get paler colors and your work at 32bit, right click on the footage file > Interpret footage > Color Management > and choose “Interpret As Linear Light” as “Off for 32 bpc”.
Tudor “Ted” Jelescu
Senior VFX Artist -
Thanks Ted, did more tests and got the same results, I think I’m complicating a thing that might be simpler 🙂
My main sequence it’s actually 8bpc with no color management at all (my machine becomes unresponsive at 32bpc, so I can’t work at that depth) . Now I’m wondering if it’s too late to change the color workflow of the AE project. Or perhaps, if it is correct to change to 32bit just before the final render, checking of course that all the colors and 32bit plugs are working correctly.
TEST1
I tried to reproduce our usual (and tested) workflow exporting a prores4444 to final cut and then did the tiff export from there and packed the dcp with DCPBuilder, I got the same color shift. Before doing the DCP all the colors (in the quicktime and the tiffs) are looking correct.
I even tried to set the “input source” to both BT.709 and sRGB and the results are the same (srgb even worse).TEST2
I even tried outputting a digital cinema package with OpenDCP because I started thinking something could be wrong with our DCP app, but the problem comes out exacly the same.To recap: I have now a 8bit (no color managed) project, the imported footage is prores422hq, and the movie is done mainly by freeze frames put in strips from the original footage and some simple motion graphic (vector logo, some glows and color correction).
What do you suggest starting from here to achieve doing a decent DCP matching (almost) with no hue and brightness shifts?
Note: we are checking the resulting DCP with easydcpplayer, from our previous experience its preview on our monitor it’s really close to the picture you’ll see in the theater (excluding luminance raise due to the projector light and the screen whiteness) (Of course we are not looking at the XYZ preview but at the XYZ -> linearRGB)
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This thread may provide some insight:
https://forums.creativecow.net/thread/2/1022400Tudor “Ted” Jelescu
Senior VFX Artist -
Does the original footage have metadata carried over that is being misinterpreted by AE?
https://www.wolfcrow.com – Workflow information and support for filmmakers, photographers, audiographers and videographers.
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I am experiencing the same problem. I was using Open DCP and now trying the Adobe workflow while checking the results with EasyDCP. The picture seems brighter than when converted with EasyDCP.
The source is ProresHQ, corrected in Rec 709.
I set project settings to none, 16bit and only apply Color conversion effect going from Rec709 to DCDM relative colorimetric and then export to j2c.
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