[Markp]

In response to Steve’s post –

If I take out R, G & B I’m left with black.

[Markp]

Chris, you’re completely correct.

I guess they were trying for four different sets of data in one pass….
Pleased to know it couldn’t be done with white & that I wasn’t missing some channel function

Cheers –
M

[Markp]

Thanks for the suggestions… tried the luma key but it’s very crude… looking for a better degree of precision than that.

Surprised AE can’t make the differentiation, though I appreciate that White = 100%R+G+B (!)

Think it’ll just be easier to request the channels as seperate sequences. Live & learn…

[Markp]

thehardmenpath – Many thanks for your advice.

On the earlier prompt to search, I actually found the script yesterday. Got hold of it, tried it; on initial inspection, it looks pretty much like what I want to do.

The exciting world of AE scripts, huh?
A whole new interesting area to explore…

Regards –
M

[Markp]

thehardmenpath – Many thanks for your advice.

On the earlier prompt to search, I actually found the script yesterday. Got hold of it, tried it; on initial inspection, it looks pretty much like what I want to do.

The exciting world of AE scripts, huh?
A whole new interesting area to explore…

Regards –
M

[Markp]

Many thanks…

[Markp]

Many thanks…

[Markp]

Mike – many thanks, and apologies for having ignored this thread for 48h or so.

I went away and took a hard look at the monitor setup I was using.

Sure enough, the output monitor has definately reached the end of its useful life – I had been given it as a freebie anyway some years back, when it had already seen better days. To add insult to injury, my actual computer monitors are no spring chickens either. Hence the error-creep in my final output.

Your suggestions on remedial techniques are highly appreciated. Indeed, I’ve been playing around with levels, saturation, Color Finesse etc. Simply trying out the legal broadcast filter quickly showed up the trouble spots, although I note your point about its effect on picture quality.

Although Color Finesse is obviously a fine product, I’ve found it relatively unwieldy, with its separate interface tending to become a pain. A vectorscope like Scopo Gigio might be the way I go. Shame there isn’t one included with AE; perhaps v7 remedies that.

I’ve heard much about CCE; the only real reason I stuck with MainConcept was its integration with AE; being able to render straight from the timeline to .m2v without generating intermediate renders – there’s a fair bit of uncompressed material to handle. MC seems to give pretty good results, subjectively speaking. Don’t think CCE is available as a plugin other than for Premiere. And you can’t to my knowledge frameserve out of AE to standalones, like TMPGEnc or that new HC-Encoder. But I may end up biting the bullet and re-render all the source material color-corrected.

I’ll shortly be posting a new thread to see what people regard as the most cost-effective options for an accurate tv monitor…

Once again, many thanks for taking the time
– M

[Markp]

Dave
Thanks for the tip

No, actually I’m authoring a DVD to be able to play the files as .m2v video streams. To add insult to injury, I’ve duplicated all the material as widescreen and 4×3 format, and the DVD incudes both sets with a menu option between them.

Which means that whatever corrective procedure I choose, I’ll have to copy and paste the remedial effect/filter onto its equivalent in the other aspect ratio.

Using the tip which Mike kindly supplied links to above, I’m about to try calibrating my rather old and suspect monitor and find out how far off it actually was. I can’t say I’m looking forward to finding out…

;-p

[Markp]

Cheers Mike – that’s much appreciated.
Yes, the importance of having a decent monitor as a reliable source of reference is starting to make itself clear….