Color space for settings???

[Angelo Lorenzo]

RED footage is interpreted as Rec 709 in After Effects by default. All transformations to/from other color spaces will be done with that in mind unless changed manually.

Rec 709 should be fine for TV and Web delivery, but I would check your delivery specs if it’s going to be shown in cinema.

https://blogs.adobe.com/premiereprotraining/2012/03/accelerate-your-red-workflow-with-premiere-pro-seminar-recording-and-notes.html

Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks

[Ali Quintana]

Thank you, that is very helpfull.

Question: Now that I am setting the color space to rec 709 after the project (incl. color correction etc is done. Will anything change? Like the colors and contrast etc etc???

[Angelo Lorenzo]

The answer is maybe. I don’t know what other footage and graphics you’re using.

https://wwwimages.adobe.com/www.adobe.com/content/dam/Adobe/en/devnet/aftereffects/articles/color_management_workflow/ae_color_mgmt_wkflow.pdf

https://tv.adobe.com/watch/learn-by-video/after-effects-color-manage/

Are two good resources for grasping how color management works within After Effects.

Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks

[Ali Quintana]

Thanks again, Its mainly red footage (RAW).

Were are also using renders from 3d studio max. RPF renders 16 bits

and renders from a 3d program called CARARA also rpf and quicktime.

Any suggestion?

[Walter Soyka]

A) Enable color management and pick a space. If you work at 32bpc the working space essentially doesn’t matter, as their gamuts will all be unbounded. Verify that everything looks acceptable. Some blends and computations will be mathematically different, though the visual differences may only be slight. Tweak as necessary.

B) Leave color management off; render out. Import render into a new project, enable color management, experiment by assigning different color profiles to the render (I’d start with Rec. 709), then output to your various spaces as necessary.

Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events

[Ali Quintana]

Thanks so much for the advice, eventhough option B seems the easiest I started with trying option A.

Thing is, after selecting color space rec 709 (we do work 32 bits) I went to check all the footage by interpret footage. each footage says sRGB IE c61966-2.1. and not rec 709.

description color values will be converted from the assigned profile (sRGB…..) approximately 2.2 gamma to the working spaca HDTV (rec 709) approximately 1.9 gamma

In the render settings though it does say rec 709

Should I change all the footage from sRGB to rec 709 and if so I will have to change all the files manually one by one?

[Ali Quintana]

OOOOh, If I choose option B, are there any dis advantages compared to option A???

[Walter Soyka]

[Ali Quintana] “Should I change all the footage from sRGB to rec 709 and if so I will have to change all the files manually one by one?”

If your footage is Rec. 709, then yes, you should change it.

See Apply Interpret Footage settings to multiple footage items [link].

Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events

[Walter Soyka]

[Ali Quintana] “OOOOh, If I choose option B, are there any dis advantages compared to option A???”

Yes — none of your inputs will be color-managed with Option B.

It’s not a technically correct approach, but if you try it and it looks good subjectively, it may be less effort than re-working with color management as in Option A.

Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events

[Ali Quintana]

Thank you, the information is very helpfull.

Most of my footage is Redcam Raw (4k) and I have 32 bits selected. Some footage is from 3d max rendered as rpf sequences. I am using the original red cam raw files, did color correction with colorista 2 (and some levels corrections in color finesse).

To sum up and make sure I understand correct:

1. I need to set the working space in project settings to rec 709 (I was told on this forum that this is the working space for Red footage). Or is sRGB also good?

2. Set all the interpret footage one by one to rec 709 (some all footage is interpreted as sRGB)

3. Set in the output render the color space I desire for each specific render

Thank s again for the information.