[Chris Wright]

you should definitely read up on the rotobrush. It’s not intuitive per se.

https://help.adobe.com/en_US/aftereffects/cs/using/WS3bf812c123007fb8513559df126b537c840-8000.html

———–

as another random experiment, I layered 3 linear color keys on top of each other.
one RGB
one Hue
one Chroma

they worked together to key out the white without any roto. I also experimented with using timewarp to act like the rotobrush’s chatter reduce feature. It seemed to work well. And hey, who can argue with zero roto work right?

AE cs3 aep
https://www.mediafire.com/?6mzb25m2ndxku3i

[Chris Wright]

“CC Vector Blur is not meant for this kind of stuff. It blurs perpendicular to an edge between two pixels, not along a given vector. The “vector map” merely defines a multiplier for the vector strength.-Mylenium”

I’d say your best bet is to render out matte passes and then timewarp add motion blur or frame blend with cc force motion blur. also this video talks about the best settings for cgi with cc force motion blur. It honestly doesn’t look that bad.

https://www.vidmuze.com/2012/01/how-to-force-motion-blur-in-after-effects/

[Chris Wright]

timewarp can add just the optical motion blur using…

Matte Layer:
The layer to use as a matte for defining the foreground and background areas of the image. White areas in the matte represent the foreground, black areas represent the background, and gray attenuates between foreground and background.

Matte Channel The channel to use as a matte.

if you want to use vectors, you need reelsmart motion blur.

[Chris Wright]

Yes, fine, I knew dpx can be linear too.

DPX runs faster than EXR and EXR uncompressed runs the fastest out of all compressions for EXR. That is why DPX is still faster in nuke.

Most people don’t even know that you should change EXR from block to scanline before ingesting into the pipeline so the network doesn’t get overloaded. That is why
DPX runs faster than EXR. EXR uncompressed runs faster than EXR piz etc. You should only use EXR piz for archiving, and even if you don’t care about EXR’s mathimatically precisionless encoding. Can you say Disney archiving quality? nope!

DPX over-bright info is contained logarithmically in a 10 bit per channel file with 1024 levels of brightness per channel. It doesn’t get worse the brighter it gets. Where did you get that from?

And yes, you have to have a high end 10 bit graphics card with a 10bit pipeline. It takes more than a monitor to make it happen.

I would never send a theatre an 8 bit file. That’s like putting youtube on blu-ray.

And as for conversion errors, I did a no colorspace, 32bpc render from integer to float, float to float. EXR fails in all types. Even uncompressed. All had roundtripping errors.

[Chris Wright]

notice how i said, zero errors. If you zoom in with EXR, even with a regular render, you lose bits even with its compression off. It’s not lossless. Sometimes red and green will ok but blue will lose a digit of precision with the color picker.

as for 10 bit h.264, what’s the point? even blue-ray is only 8 bit, HDTV’s are 8 bit, and if you want to use 10 bit h.264, you’ve already lost quality anyway so why bother using it for archival or intermediate format when there’s better choices?

and cineons encode in log which mean they hold overbright values.

[Chris Wright]

rendering in 16bpc means that the codec supports it anyway from the drop down box. All h.264 is 8bit. Working in a 16bpc or 32bpc gives the advantage of precision compositing even if you are simply going to an 8 bit video container, it will dither it out back to 8 bit again.

Now, if you want 16 or 32, AE will ungrey trillions and float respectively. Cineons act as float, Tiff can be both, and other video codecs you have to buy. My own personal tests confirm that Tiff with LGW compression off gives both the smallest file size and zero errors for trillion/float plus it has built in color management and you can render off where you left.

[Chris Wright]

add a keying-linear color key effect
eyedrop the brightest key color white
set its matching softness 0%
add a matte choker effect

[Chris Wright]

i like that Darby, you don’t really need color finesse to add cyan.

here’s my attempt at 3 strip. In Dirty Harry 70’s, they added brown to 3 strip film.
https://forums.creativecow.net/readpost/2/1017021

[Chris Wright]

you might get something similar when you use the 3 strip technicolor process, then add a 40% tritone adjustment layer. It was the basis for metrocolor, I believe.

here’s a 3 strip ae cs3.aep I made, just add the tritone
https://www.mediafire.com/download.php?5vkfg7ash7tgvj7

[Chris Wright]

i believe the easiest way is to simple turn off color management in AE but burn it in with AE’s utility color profile converter set to the the same as your color profile set for your monitor in your OS. That way, if you import it into Premiere, it works and if you import a non-color managed premiere into AE, it works. For example, most windows 7 defaults are sRGB 1966 or hdtv.709