[Filip Stillerska]

Well, I’ll just keep ignoring this message since it doesn’t create any issues and especially since it removes its own old cache files to make room for new ones. If it didn’t automatically remove old caches then it would be a different story for me (then I would go and manually empty it). Disk cache is important.

[Filip Stillerska]

I don’t think there’s a permission issue here since everything works completely fine. When I empty my disk cache the message goes away and my disk cache just starts piling up again. This is probably because I work a lot with HD and sometimes even 4K material, so I don’t think it is a big mysterium why my disk cache is full all the time.

[Filip Stillerska]

So there’s no need to worry about that message since AE automatically prunes older items out of the cache? It won’t stop storing new cache just because it’s full (it removes old cache instead of stop generating new cache)? Correct?

[Filip Stillerska]

Hi Andrew,
read through your article and learned a lot (thank you!), but yes – Ae’s color management is definitely a headache. I’ve been trying to really figure it out for months now, but it’s really hard to completely wrap my head around it.

“I see from the above screenshot that you are working in 32 bit scene linear, gamma 1.0, colorspace. I see you are outputting to the DISPLAY REFERRED (gamma 2.4) version of Rec709 – not something I recommend but you may have your reasons for doing so.”

Why are you not recommending me outputting a non-linearized file? Should I export the 8 bit H264 and 12 bit ProRes 4444 as linearized instead?

[Filip Stillerska]

Thank you, Walter!

[Filip Stillerska]

Well, can you at least give me any guidelines Dave? From my understanding, you should uncheck the “Clamp Signal”-checkbox when you want to see exactly how much of the information is being clipped. When working in 8 bpc, you can leave the drop-down menu set to “8 Bit”, since that’s what you’re working in. When working in a HDR colorspace, you want to set the drop-down menu to “HDR”, since you want to see the wider color space.
Can you confirm if this information is correct? ↑

Also, should I choose “8 Bit” or “float” when working in a 16 bpc or 32 bpc project in a Rec. 709 color space?

[Filip Stillerska]

Yes, you’re absolutely right Walter. I feel embarrassed that I didn’t catch that myself. Thank you!

[Filip Stillerska]

Thank you, Jim, I definitely have a better understanding now. I also read through the article you linked, however, how do I figure out the crop factor or multiplier when I’m unable to find any direct info about the crop factor or multiplier about a camera? This info seems easy to find about DSLR’s, but what about film cameras? Right now I need to figure out the crop factor (multiplier) of the Panasonic HC-VXF990, but I’m unable to find any direct info about it. But I know this about the camera:

• Focal length (equivalent of 35mm film): 4.08 – 81.6 mm
• Image sensor format: 1/2.3″
• Maximum aperture (wide-angle – telephoto): 1.8 – 3.6
• Sensor type: CMOS

Is there a way for me to calculate the crop factor for this camera using these numbers (or other numbers found online)? (apologies for all of these questions, but I do really appreciate your help).

[Filip Stillerska]

Thank you, Jim, and Walter, for the help! I (currently) don’t have much knowledge about cameras, but this is absolutely something I will read up on (sooner or later). But how do I know if a camera is 35mm? Are most DSLR’s these days 35mm (should I assume that most of the cameras that I work with are 35mm, or not)? For example, is the Canon EOS 700D a 35mm camera?

[Filip Stillerska]

Yes, Dave. But there has been a couple of challenges when a simple drag-and-drop Morph Cut in Ae would’ve saved me a lot of time. I’ve submitted a request to Adobe, but you’re right Dave: there’s a reason why the Morph Cut most likely won’t be available in Ae, at least not in the near future.