-
ProRes 4444
I am curious if others have tried the new ProRes 4444 codec with AE. Apple claims it retains colour fidelity especially when working from Redcam footage. Most of what we do is Redcam these days so I am trying to create an AE workflow however have run into a few issues. The output module offers Trillions of colors plus alpha but rendering out trillions creates a distorted QT. The image is nothing but snow and distortion, even though the AE preview while rendering looks good. A millions RGB or millions plus alpha renders out fine but I wonder if I’m losing anything? It seems odd that AE would provide trillions yet not be able to render it out. Maybe the codec itself can only really function in millions. Thoughts? By the way, to avoid a gamma shift back to AE I’ve found that selecting match legacy QT in the project settings to maintain proper gamma on the renders out of AE.
-
6 Replies
-
Red is .709 color, and if prores is old legacy quicktime, then its gamma flag is gonna be different. The players themselves with older playback codecs can cause non-playability, but if you can import the files back into AE/FCP and it works, you’re fine.
https://technicolorsoftware.hostzi.com/
-
I’ve just posted some new information on ProRes 4444 in After Effects.
———————————————————————————————————
Todd Kopriva, Adobe Systems Incorporated
putting the ‘T’ back in ‘RTFM’ : After Effects Help on the Web
———————————————————————————————————
If a page of After Effects Help answers your question, please consider rating it. If you have a tip, technique, or link to share—or if there is something that you’d like to see added or improved—please leave a comment. -
By 709 do you mean Rec 709? If you do, then that is completely incorrect.
Motion Design, Color, Editing
Simulated Wood Grain Cabinet Inc.
Bunim-Murray Productions -
Dahhhh, ya, Rec 709, oops I meant 708, I mean Rec 708. Have you never seen it abbreviated for the sake of quick conversation. And, what am I so incorrect about? You don’t explain yourself but you better now.
-
To put it quickly:
I was referring to Chris Wright saying RED is “.709”
RED is shot RAW so the color space and gamma can be whatever is available to the application transcoding/interpreting it. It’s all just metadata. People spouting stuff like that make my job harder than it should be.
Is 708 a post joke or something?
Motion Design, Color, Editing
Simulated Wood Grain Cabinet Inc.
Bunim-Murray Productions -
Illya Laney,
I agree with you, one of the main benefits of shooting .r3d raw is the ability to output in a color space and gamma that is appropriate for the project. For example if your intention is for a HDCAM or HDCAM SR master then there is an appropriate color space and gamma for that situation, but that option isn’t necessarily the best option if you intend on going through the DI process, and producing a film print. Yes you can output a HDCAM SR master and have that printed to film, but it does require an additional step to make the color space and gamma conversion for the print.
Larger facilities who do a 2k DI (2048×1152) typically work in LOG, and will output from the .r3d source in LOG. Working in a LIN color space like Rec.709 is much more limiting than LOG which is why most high end post facilities work LOG from the .r3d source.
best regards
Colin
Reply to this Discussion! Login or Sign Up