__peter__
Forum Replies Created
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Same here. Still not solved. I’ve read in the release notes of 7.2.1 that the issue is fixed with ProRes Files. But no word on XDCam as far as I know. This problem exists for moths now.
I am pretty disappointed, that this is so ignored by Adobe. Takes the Pro out of Premiere Pro.__Peter__
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Ah, yes of course, you’re right. The last thing I mentioned would be the equivalnt of “mapped”. So using one of those “log” colorspaces give methat mapping. I still wonder if that’s a legitimate way of getting the full range. But probably in 32bit it’s correct.
What You meant is clipped of but the rest of the data still available when the exposure is changed with the ae exposure effect. But as far as I can see that information doesn’t come through. But I am not 100% sure.
I really wonder that I cannot find a recommended workflow for that on the web.
__Peter__
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You probably mean “mapped” instead of “clipped”, right ? I tried that but it seems to be the same. You cannot access the fully dynamic range. But I still consider, that I don’t understand all of the suggested workflow from adobe.
I would be interrested in Your opinions of in another way I figured out while playing with the Red-dialog.
If You set the colorspace to something like redlog you get the expected super flat image. If I take this into a 32bit composition and grade it until it looks right … is that maybe the right workflow ? That way I guess I have the full range of what the camera can see. But I am not sure if I create “gaps” and “banding” when changing the image heavily. So far I cannot see bad things happen by eye.
Thanks for andy further ideas …
__Peter__
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You can use r3d files directly in AE and find a really nice “pre grading” or lets call it “metadata-editing” in footage interpretation. There You can push the image around as far as you can with a raw image. But I would like to have the same access outside that interpretation window.
Simply just in AE 32Bit like with an Open EXR-Sequence for example.
You can probably get high dynamic range OpenEXR-Sequences by exporting them from Redcine-X but I expected a easier workflow as Adobe promotes the Red workflow so heavily and Open EXR Sequences are so much bigger in filesize.
So any more ideas anyone ? 🙂
Thanks!
__Peter__
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Yes! Thanks Everyone!
And thank You Jon.
Sorry that I didn’t get that in the first place.Peter
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That’s exactly what I decribed is not working.
Premiere doesn’t recognises that is has to render.
That’s why I am looking for a solution to FORCE render on a clip.Who has another idea ?
Thanks!__Peter__
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Yes! 🙂
I also dared it and it works beautifully.
Even the CS4 Matrox driver still work with CS4.That way I can sit and wait until finally matrox is able to deliver drivers for CS5. Although it’s still not clear to me why they are always the only one that cannot deliver drivers in time. They claim to work closely with Adobe. Whatever …
Peter
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Hello 🙂
thanks! That was a very good explanation.
Would You say that all of that is true for broadcast or also even for all the web formats ?
Does h264, flash, MPEG2 and so on use YUV ?
Or whatever one should call that colorsystem then.I thought if we are on a RGB device like computers are, RGB would be the first choice. But maybe not 🙂
Peter
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Hi 🙂
that’s great, thanks. I never really saw the possibillity of single chanels in Hue/Saturation. I guess there are so many other cool things in Aftereffects, that You only find by talking about a specific problem 🙂
What should make the difference between 4:2:2 and other types ?
Although the color chanels are reduced and so maybe edges would be affected by desaturation, but any other method (including Keylight’s) would have the same problem.
If anyone has more ideas I am still interrested.
Peter
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Yes! Great. I did’t know color finesse can be used without their big window interface. That’s a good solution. Thanks!
Hopefully it will still be bundled with AE when CS5 comes out. Which means they also have to provide a 64Bit version.
Thanks again!
Peter