Darby Edelen
Forum Replies Created
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You can also use the Color Profile Converter to determine the linear equivalent of your RGB/Hex values by checking the RGB readout in the Info panel after the effect is applied. Then use the linear equivalents instead of the values you were supplied and avoid using the Color Profile Converter altogether in the remainder of the project.
Darby Edelen
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Adobe’s suggestion of using the newer color management features does apply to a linear workspace, but it doesn’t apply to assets created within AE (solid layers, shape layers, text layers, lights, etc). Most of these are not represented by footage items in the project panel and their color therefore cannot be re-interpreted. Solid layers have footage items but are locked into the “Preserve RGB” mode.
If you’re working in a linear space from the beginning to the end then you shouldn’t need to worry about this too much. When you’re choosing colors for your shape layers just choose RGB values that look correct in your linear workspace (not too bright/washed out).
If you’re switching from a non-linear workspace to a linear workspace and you want your Shape Layers to maintain their color, or if you have specific gamma encoded color values you’re using, then you’ll need to use the Color Profile Converter. Set the input profile to the profile of the RGB values you’d like to use, for example: sRGB, and that should do it.
Also, the placement of the Color Profile Converter in the effects stack can change how certain effects behave, so make sure you pay attention to that as well. It’s changing the RGB values of the underlying image so that the values perceptually match another profile, this means that a linear ramp will end up having non-linear RGB values after the Color Profile Converter is applied… although it will ‘look’ perceptually linear because our eyes cause a gamma shift too 🙂
Darby Edelen
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Haha! It’s an Adobe application, there are always 10,000 ways to do it. Even keeping track of a fraction of them takes up a good bit of brain space.
I’m seriously afraid that when I get into my rocking chair years I’ll be mumbling about blending modes and matte layers to my grandchildren.
Darby Edelen
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I’d try using a difference matte and roto in combination. Since the shot was locked down the difference matte should get you most of the way there. Use roto to correct for any holes.
Difference matte should give you good edge detail, roto for the broad strokes.
Darby Edelen
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[John Cuevas] “Okay I just tried this, I imported a graphic with an alpha channel and left it alone. Then I imported the graphic again, so I have two copies of it and set the interpretation to ignore. Same video with and without alpha channel. Is that what you are trying to accomplish?”
You can also duplicate (cmd-d/ctrl-d) your footage item directly in the Project Panel and change its interpretation. You can even rename the individual instances of the footage item in the project panel to keep things clear.
Or you can duplicate the layer in the timeline and apply a Channel > Shift Channels effect with Alpha set to Full On.
Darby Edelen
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In your viewer panel go to the “Filter” menu, it’s between “Options” and “Panel,” and make sure that there is a check mark next to:
√ HN Mesh
I think that’s most likely your problem.
Darby Edelen
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As far as I know a projection system using circular polarization will have very little to no impact on your workflow. It’d be a standard stereoscopic workflow with the delivery format depending largely on the system that will be used to project the material.
Digital Cinema will likely require that your output is packaged into a DCP which will have restrictions of its own. On the other hand, when my company wanted to produce a stereoscopic presentation we delivered videos in ProRes HQ and stills in JPEG simply because the projectors we were using were being driven by computers that we owned. That gave us control over the spec.
The only area where the mode of projection (circular polarization) may affect your final output might be in “ghost busting” or trying to minimize crosstalk between the left and right eye images. The amount of crosstalk/ghosting in a system can vary a lot.
All in all, you should talk to whoever is receiving your deliverable to determine your output format.
Darby Edelen
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I’ve never produced assets for the BBC, but it sounds like they want you to produce something that can be easily panned and scanned. Meaning that they’ll use the same video for 16:9 and 4:3 broadcast so don’t put anything that the audience HAS to see outside of the regular 4:3 title safe.
This is something that I used to do all the time for DVD menus back when DVDs were still a cool thing 🙂
Darby Edelen
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As long as the person receiving the file has the same or a higher version of AE as you saved it with, they should be able to open it.
Darby Edelen
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You didn’t say anything about this, so I’ll ask. Did you fit the small image to the new composition size?
In the menu system you’d be looking at:
Layer > Transform > Fit To Comp
Or one of the other (Fit To Comp Width/Height) options if you’d like to keep the aspect ratio of the source footage.
Darby Edelen