Marcos Ganan
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For music royalty free and for video, Footege Firm. Good quality, low price.
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There are two materials in the original project whereas there is only one in yours. Maybe that?
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Well, you get lossless Animation Apple which have not the gamma problem, and, it depends on the machine that you use, you can try Targa or PNG sequence or even Uncompressed 8 or 10 bit. Everything match perfectly between both softwares. The DPX sequence is a high quality solution for edition in Premiere Pro and to compose it in AE, and the possibility exists of downloading software necessary to allow the editing in FCP with it. This is a suggestion, because I think that ProRes, being a codec of very good compression, it only is effective to the 100 percent within an exclusive Quicktime workflow. Just that.
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I advise you not to use the codec of apple. The solution to the shift of gamma is not very simple, if it exists. There are many alternative HD codecs as good as prores or even better that run perfectly into the AE-FCP workflow, or changing FCP by Premiere Pro.
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Yes. Because this is for exporting only, I think. I suppose that you are assigning the same color profile to the footage in the project tab, with Interpret Footage, Color Management. Perhaps you can change the codec of your master in the capture. The AE-Prores problem is a nightmare by which now, I capture my footage in DPX sequence through Premiere Pro. Sorry. And get luck.
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I think that for the H264 codec, it is enought marking the square where it says that Match Legacy After Effects Quick Time Gamma Adjustments in the Project Settings. And you’re right, the Adobe solution is for the Prores 4444 only, sorry.
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I had the same problem. You exactly do whst Adobe says in this instructions if you are in CS5 or 5.5- that worked for me. There is a similar solution for the CS4 version.https://blogs.adobe.com/toddkopriva/2010/05/prores-4444-and-prores-422-in.html
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This is the reason for which I have left the editing in FCP and now I use PremierePro. Banded blur and gradients. Nothing to do, in my case, with Uncompressed 10, nor Prores 4444 and so. The solution for my has been format DPX (sequence), with which the platform of Adobe works perfectly and fast and smoothly. No bands in final renders for MPEG2 BluRay and others HD codecs.
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The best for this, I think, is to put a light turned off in the position of the plane (and instead the plane) in C4D, and then in after effect, in the cinema comp, make a 3d layer with the video and copy and paste the position of the light to the video. Once in place, you can adjust all for thah 3d layer, and it will be in the perfect place in the 3d composition using the objects buffer masks correctly. (and my english is poorest than yours, sorry)
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In Projection Cam you must to move the projector until the texture is in the correct position. Is a good idea to do the plane, in this case, the same size of the texture.
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