Chris Wright
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Audio Coin
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COW Coin
Forum Replies Created
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steve is spot on. in a big budget environment, you wouldn’t even burn in a lut as color management changes and lut burns slightly reduce quality. the changes are made to normalize into a log to linear monitor, then rendered as half float EXR with the lut first turned off again. you now have a rendered half float alpha channel with no color transform. that’s done in the grading stage later on so vfx easily match shots.
occasionally, the lut needs to be burned in(or as hollywood likes to call it, baked), for final tonal mapping as prores 444 in some lower budget films. in this case, the technical lut is then passed around from the vfx supervisor (so there’s only one version of the log-to-linear and linear-to-log luts floating around the building) then its back to digital or older film/dpx workflow (now outdated thanks to the native linear EXR format developed by ILM.)
nowadays, technical luts burn straight from log-to-linear right into P3 or XYZ mapping for DCP for digital theatre projection all lut conversion gives 1% digital loss so its always done last step from a float or half float master.
OCIO is compatible with the Academy Color Encoding Specification (ACES)
https://opencolorio.org/ -
reelsmart motion blur and ae’s built timewarp 100% with just shutter angle are two optical motion plugins. the other two are frame blending plugins more akin to shutter samples for animation.
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you could make a lut in lumetri, export it as 1_yourfile and it will pop up at the top dropdown menu.
or you could try my free effect preset which works as 32bpc( 0 precision loss) effect which simply normalizes what you recorded.
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free slog 3 to rec709 effects preset for premiere.
create a vibrant film look from slog3 footage without speedgrade or any luts!
a tweakable effects preset that can be modified to work for slog2 or any other flat look in only a few seconds.
how does it work? it uses fast color corrector as a pre-contraster limiter for brightness/contrast filter.
Simply edit fast color corrector input white black and output white black. drag effect onto footage or adjustment layer.https://f1.creativecow.net/file.php?id=9975&folder=slog-3-to-rec709-effects-preset-for-premiere
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-the fastest turnaround would be to make each clip look the same first, then apply one adjustment layer to all clips for color.
https://forums.adobe.com/thread/2117929-make your own lumetri lut
https://forums.adobe.com/thread/2211190 -
is it smaller than quicktime png, can’t remember(I’m pretty sure png is the smallest)? both are only 8 bit and fully uncompressed, so pretty big file sizes. you can get several generations out of high bitrate wavelet codecs, prores 4444, dnxhr, cineform type 5. diminishing returns is the name of the game. hd space and playback speed. if you’re having trouble playing back wavelet, imagine, fully uncompressed.
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interesting solution. I didn’t suggest buying new hardware, must have been a low level driver issue from the motherboard. btw microsoft owns stock in that soundbar, jk.
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does it change if premiere’s render is software?
ae with no color management should match exactly srgb which is premiere.(if your monitor is calibrated to srgb as well) -
its not so simple. dynamic range is from the luma logarithmic curve that steals bits from
blacks or whites to increase dynamic range. that is why 8 bit log doesn’t work well because it creates
banding from low precision transfer functions. The human eye can see steps in brightness in this way if
not enough information is available via precision.for example, rec. 2020 uses the same sample non-linear transfer function as rec. 709 but at 10-12 bits instead of 8 bits.
Standard range video with a 2.4 gamma curve and a bit depth of 8-bits per sample has a dynamic range of about 6 stops.
The thing that creates HLG TV is the logarithmic curve for the upper half of the signal values. When HLG is displayed on a 2,000 cd/m2 display with a bit depth of 10-bits per sample it has a dynamic range of 200,000:1 or 17.6 stops.
as you probably can guess, this changes how you properly expose shooting slog2 as this moves the grey point around from 42% to 32%. shooting a7s at the camera’s native 3200 iso(sensor noise floor) will also maximise dynamic range.
a slog2 MM +2 70% zebra will match rec. 709 skin tones and help a lot with 8 bit cameras as they won’t have to interpolate much during post grading. true also for white balance if not using RAW. ETTR iso changes only moves the noise range around which crushes dynamic range.
interestingly, a 8 bit camera will look better with a more conservative gamma curve at the expense of dynamic range. that is why 8 bit green screen keying works best with neutral profiles over log. there’s more precise bit gamma data per green pixel value.
https://www.xdcam-user.com/2014/08/exposing-and-using-slog2-on-the-sony-a7s-part-one-gamma-and-exposure
https://www.xdcam-user.com/2014/05/what-is-a-gamut-or-color-space-and-why-do-i-need-to-know-about-it/ -
sometimes rendering precomps is faster. if you layer a key, then a precomp, then another precomp, and another precomp, ae isn’t always additive, it sometimes is geometrically slow. if possible, render the camera blurs last.
delete/trim any unused layers
turn off ray-trace
finally, render to tiff image sequence. decide on 16bpc or not.aw, see! adobe agrees with me.
https://helpx.adobe.com/after-effects/using/improve-performance.html -
“none of them have been as intensive as the current project.”
your computer is either overheating as you state above, or you’re leaking ram from the old bios as its a new ryzen board.