David Cherniack
Forum Replies Created
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[Walter Soyka] “You can preserve overbrights in RGB with floating point image sequences, but QuickTime support for these is nonexistent.”
Walter, the YUV material within AE was showing white levels above 1.0 and even using a 32 bit workflow and codecs that support 1.0+ levels rendering out of AE clipped at 1.0. This apparently is hard wired into the AE rendering engine that, in RGB terms, 1.0 is as white as you can go. A few questions then:
In a theoretical vein, why and how are comp levels allowed to be higher than 1.0 if 1.0 is the RGB maximum value?
In a practical vein, isn’t this misleading if the render engine is going to clip at 1.0? Isn’t this really a mapping design flaw of the engine when it renders to a YUV codec?
And in a completely different vein, what is it about rendering to Quicktime that clips levels above 1.0 even from PrPro?
David
AllinOneFilms.com -
Here’s a reasonable workaround:
Render the AE comp in Adobe Media Encoder to a codec that supports super whites. Most do except DNXHD.
David
AllinOneFilms.com -
Joe,
Again thanks for the links but I’m kinda gnashing teeth here.
The suggestion is to use the Cineon converter for HDR film material. OK but my material is EX The whites go up to 110 IRE or 255 on an 8 bit scale. In After Effects @ 32 bits the super whites are above 1.0.
So even applying the Cineon converter to compress everything from linear to log at the default values, then exporting to a 10 bit Matrox Uncompressed codec, then importing the file into Premere CS6, applying the Cineon converter from log to linear at the same default settings the whites come in far below 100IRE on the scope. One would think I’d just have to crank up the white point, but nooooo. The converter clamps at 100 iRE. Furthermore it’s not CUDA accelerated in Premiere so even if it didn’t clamp it would still necessitate preview rendering.So I don’t know if there’s any simple way to preserve super whites when exporting from After Effects but you’d think that there should be.
David
AllinOneFilms.com -
Hi Joe,
Thanks for the link but it really doesn’t help in any practical way.
It states that you have to work in a higher bit depth than your export codec, compress your whites down, and have your NLE expand them.
Well, I’m working in a 32 bit depth project, and exporting to a 10 bit codec. If I import the exported file to Premiere or to After Effects, the whites are clipped. Even if I compress my whites down before exporting there’s no way that I’m aware of to tell Premiere, or After Efeects to expand them without pushing the high end of a luminance curve. Unless I’m missing something fundamental, the process suggested is really just a workaround and even with the higher bit depth is going to potentially lose information. It seems to be a deficiency in After Effects that it can’t export whites above 100 IRE or 235 on the 8 bit scale if we’re going to talk digital.
David
AllinOneFilms.com -
It may also appear on the creative cloud well before NAB. Remember that’s one of the advantages of the CC.
David
AllinOneFilms.com -
These days anyone who argues the superiority of macs over pcs or vice versa is either a fan boy or a moron. Take your pick. Of course, the two are not mutually exclusive.
David
AllinOneFilms.com -
Check with BM whether they’ve got this working yet with their drivers.
David
AllinOneFilms.com -
Thanks Frank, do you know which wrappers the codec works with in Windows?
David
AllinOneFilms.com -
There doesn’t seem to be any direct link to download the codec.
David
AllinOneFilms.com -
Chris, I haven’t played around too much with the different track types. I suggest going on the Premiere forum, either here or at Adobe, and asking there. Sorry.
David
AllinOneFilms.com