Andre Farkatt
Forum Replies Created
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I couldn’t agree more… so… the solution has NOT been found…
Andre Farkatt
RTV Producoes -
No, it doesn’t fix… I use the exact same workflow with p2 from fcp to ae and when I play the AE rendered movie, no matter what codec (hd) I use, it does the gamma/luminance crop/washed out result…
It’s not a export problem, but a colorspace interpretation and loss of usable data when getting out of the native yuv usage inside fcp… just in applying a rgb effect we also have some degradation, much less than using AE, but it’s there…
let’s keep talking… I dream with somebody appearing here and showing that we’re all stupid and tell a simple solution ehehehehe 🙂
Andre Farkatt
RTV Producoes -
Hi, Dustin… when using beta(component)/digibeta(SDI) I capture using AVID meridien compressed or uncompressed in a media composer mac OR using AJA Kona uncompressed (2vuy). Then after editing I export omf reference or xml to another machine running after effects and automatic duck… thus, opening the original footage captured either by the avid meridien or the FCP with AJA kona… there’s no export/convert/recode in this process…
using this, nothing shifts, the same image seen from the beta/digibeta deck is seen when playing the AE rendered movie back in the avid/fcp… even when it has super white/super black information in the tape…
just replacing the capture process by the p2 import (log and transfer) at the FCP/AJA Kona all the nightmare begins when the footage goes to after and come back rendered… when looking from the fcp timeline, the p2 footage is ok… but when opened by after (again, using automatic duck to open the original footage directly in after) and rendered, the result is what we all see in this topic… gamma shift, luminance crop, superblack gone, superwhite gone… etc…
Andre Farkatt
RTV Producoes -
Sure David, you’re welcome and all help is welcome. Unfortunately I can’t use anything that is not straightforward as many editors use our facility… it must be as simple and standard as it can…
I’ll try some shoots with sheer, but, even if it solves my personal problem, it will not solve my free-lancers editors…
thanks
Andre Farkatt
RTV Producoes -
I work with post prduction since 1993 and I’ve seen this colorspace issue only two times… one when we first used digisuite uncompressed and now… ALL other worklflows including recent betacam/digi beta SD editing with FCP + finishing with AE doesn’t show this issue, the quality and integrity of the whole image is pristine and the same from the camera to the final tape… and using AVID meridien (the good old hardware based avid) + back and forth to AE, I NEVER had this issue…
Using an alternate codec as suggested in another answer is not practical, since we use automatic duck and work in AE with the original footage, captured via FCP or AVID… so, if FCP or AVID doesn’t capture straight in a codec that AE is able do open, it’s useless for me… specially if it is a codec who doesn’t have aja kona support…
Andre Farkatt
RTV Producoes -
Just to keep you up to date… A year have passed and I Still have not found a straight workaraoud for the colorspace/codec gamma/color shift. And now, reading the comment from the “red” user above, things gets complicated for me, as I plan to have a RED in the future…
And for you that find unbeliavable that apple/adobe/panasonic/aja/whoever doesn’t take apropriate measures to fix this, please write for them, tell our cases, tell we do everything written in that “color space conversion” tech papers they publish and had no success.
Andre
RTV Producoes
(still begging for some strightforward solution, and still loving betacam workflow)Andre Farkatt
RTV Producoes -
I use .xml export and automatic duck to import it to AE, so, I use the original file directly on the AE timeline, just as FCP does… so, it’s not a problem with quicktime exporting… but the way AE “sees” the footage imported from P2 card
Andre Farkatt
RTV Producoes -
I’m completely disappointed with dvcprohd with after effects from final cut pro…
I’ll test opening .mxf files in AE directly from p2 card to see if there is a solution.
Andre Farkatt
RTV Producoes -
I use .xml exporting and automatic duck, so after effects uses the same original file imported via “log and transfer” from the p2 files…
and the same colorspace gamma loss occurs… even with no-recompress of the files…
Andre Farkatt
RTV Producoes -
Ron, quoting you:
have tried many permutations of the settings experimentally, etc. All resulting in no joy. I cannot get DVCPRO 720 material (as ProRes or not, etc.) to do a round trip from FCP to AE and back without the gamma/color shift making the product unusable. This is not just one person’s isolated problem.
I totally agree… and your post tells exactly what happens with me.
Let’s keep trying.
Andre Farkatt
RTV Producoes