[Seth Marshall]

Thanks Dave! In your opinion going immediately to even ProResHQ wouldn’t cause me to loose anything compared to working with the original raws? That is amazing news if so. I was worried transcoding to anything may loose image quality — so I choose ProRes 4444 at least to retain 4:4:4 for best color correct fidelity (and it already cuts the file size in half). EDIT: Since the raw files are 14bit I assume it’s best to work in 16bpc.

I will only use a proxy after I stabilize. Is there a way to change proxy codec or should I just leave it animation?

In my experience ProRes doesn’t change any dimensions.

[Seth Marshall]

Hi Dave, copy that for video from DSLR. But actually my files are raw stills (time lapse image sequences). I was the guy you helped yesterday with my mask issue. Thanks though 🙂

I just wanted to know the best codec for archiving the raw file image sequence before processing and after (so I can have an original and delivery both at highest fidelity).

I figure 4444 gains me 4:4:4 but depending on how the compression algorithm I’ll either waste bandwidth on an unnecessary Alpha channel or ideally the Alpha channel will recognize there is no transparency information and dedicate bandwidth for RGB or give me a smaller file.

[Seth Marshall]

Thanks Dave. I do like the 4:4:4 option but don’t need an alpha. As long as the compression does the alpha independently then using 4444 won’t be so bad.

[Seth Marshall]

Thanks Walter! I guess if there’s any compression, even if lossless, hopefully the algorithm would take into account situations where the alpha isn’t needed and compress that channel entirely (like a losslessly compressed audio file for an empty sound track).

Otherwise if it’s tied into the RGB channels it may eat up bandwidth. But I’m not an engineer, just overly concerned about file size.

[Seth Marshall]

thanks for those clues anyhow. I’ll never know since I reverted without a screenshot. But now at least I have a list for the future.

[Seth Marshall]

Excellent Explanation!!!

Thanks everyone!!

[Seth Marshall]

Very possible, in my defense as Dave stated the use of Adjustment Layers in this manner is the preferred workflow in Photoshop.

Thanks for your reply, if you wouldn’t mind please checking out what I wrote Dave regarding his suggestion of duplicating the layer instead of using adjustment layers. I asked some questions there and want to keep it together – https://forums.creativecow.net/readpost/2/1035416

Thanks for replying!

[Seth Marshall]

Believe it or not I checked all the “eyeballs” and “hide” boxes to make sure I wasn’t turning something off. As far as I could tell everything was on which is why I was so confused. I checked and rechecked and the only thing I could figure was my masks were doing something wonky. But after rechecking in the manual I don’t believe that I was doing anything wrong and the fact there wasn’t obvious overlap made it seem somehow one layer was disabling the others without any indication.

It was strange but the revert worked. Very possible it was something I did, I just have no idea what (which sadly won’t help me prevent that from happening in the future)

thanks though

[Seth Marshall]

Thanks Dave. This is close to my workflow but it’s really helpful hearing it from you so I know I’m doing it the correct way (and to have for future reference). I appreciate your help on this very much.

Wouldn’t your method via duplicating the layer and using a mask be the same as my using adjustment layers with masks? Since isn’t that is the purpose of using adjustment layers in photoshop? (I ask in case there is a obvious/specific reason in AE why I shouldn’t).

Often I need to stabilize camera shake from wind or something. I assume I just stabilize one layer, apply, then copy/paste the transform info into the other layers (whether it be duplicated layer or adjustment layer).

[Seth Marshall]

My projects are time lapses so my original media is just the still photo (I don’t have layers of objects).

I was about to explain myself but you took the words out of my mouth. I use adjustment layers because that’s what we do in photoshop. And the masks are to only effect the areas I want. I have three adjustments: 1) An ND grad for the sky, 2) To lighten an area. 3) To apply Shadows/Highlights Effect to an area. 1 & 3 Overlap a bit. How should I approach this in AE?

I normally would keep my questions short but figured more info would be helpful to explain my situation. Sorry to take up so much of your time but your input is very helpful!