[Seth Marshall]

Thank you very much for replying. This is what I figured and even read those pages in the manual, but after rereading still couldn’t see what was wrong in my project.

So I reverted to before I added the adjustment layer and went ahead and redid it and now it works….? I have three adjustment layers with an effect each with separate masks and it seems find now.

I have no idea why it was giving me problems before. Yes, some portions of the mask in each layer overlap but the problem didn’t effect overlapping portions, it was as if two adjustment layers completely stopped working.

Have you encountered bugs in AE like this where you needed to revert and redo to get it work? I’m wondering if it was something I did or if this was a bug in the program.

Thanks!

[Seth Marshall]

Thanks so much for that detailed explanation! It sounds clear enough to figure out but I had to run an errand and won’t be able to try until later.

I appreciate the help and offering to follow up. I will write later if I need more details but hope to not have to bother you. Thanks!

[Seth Marshall]

Excellent information, thank you so much!

I don’t think I would want to archive the EXR because wouldn’t that lock in noise generated from my pseudo-HDR process, although I understand it could have more fidelity for future tone mapping having thrown out that data otherwise. But I guess you can’t have the best of both worlds. A ProRes saved EXR image sequence may be significantly compressed enough to make it small enough for archiving.

I always thought ProRes4444 was dedicated to working with alpha channels, and although I don’t understand quite how that would help in my situation (no VFX). ProRes and ProResHQ also have 10-bit but in lower bit-rates. Wouldn’t that work as well or in this situation would 4444 lock in more fidelity?

Great information, thank you for your time!

[Seth Marshall]

Thanks for your reply! And you totally guessed my HDR software. Going that route still means I’m exporting from LR and processing images individually like the old days, but I hear you.

As for remapping to EXR or 32bit Tiff, the problem is those files are bigger and my intentions are to make it smaller to archive. (I.e. I would save the image sequence as ProRes but want to retain all the shadow/highlight detail in the raw files). My friend says he uses Cineon or DPX for his work but I’m unfamiliar with those codecs

[Seth Marshall]

Thanks again for your replies. If you’ve never seen this disc I can’t imagine who has, I will let it stop bugging me.

I’m sure my project idea has been tried many times before. But being the compulsive tinkerer I may have to take a stab at it! Thanks!

[Seth Marshall]

Thank you Todd, I appreciate the reply.

Here are pictures of what I am talking about in my pepper light. I too have a focus knob that controls the worm gear but it’s lower. This knob is directly in the center where the vent is. Take a look:
https://i68.photobucket.com/albums/i17/notastepizzaface/photo2.jpg
And here is the inside showing the metal disk:
https://i68.photobucket.com/albums/i17/notastepizzaface/photo1.jpg

My only guess is the disk prevents light from escaping the back while still allowing air the circulate yet I have no idea why they made it able to rotate.

I appreciate you convincing me not to destroy it, I think you’re right. And you were right I wanted the fresnel. eBay would be a great place to get one, although I’d have to come up with a housing and slide for the light so I can flood or spot it,

[Seth Marshall]

Should I just ask, “What viewfinders do people currently buy for their new or soon to be purchased B4 mount cameras?”

[Seth Marshall]

I have no idea where I may have heard this before… Or maybe it was something I contemplated on my own even. These are the things I end up staying awake all night trying to refresh my memory.

Have you heard of anyone doing this before or was this your idea? To use the gain to set exposure brackets/differentials sounds interesting although a complete rework of it’s intended technology which may require significant tinkering.

In the end how would you plan to recombine for HDR?

Man, I wish I remember when I was thinking about this. Feel like it was during an HDR craze I went through a few years ago.

[Seth Marshall]

No, but I’m assuming you’re considering combining the luminance channels in each color to do this?

[Seth Marshall]

Thank you very much for your reply. It gave me a much clearer picture on how impedance works. Immediately after mentioning it needs more voltage I thought about possibly to help weed out interference and that would make sense. Still, I wonder why the standard has stuck around even on the most current cameras these days.

Even then… Lets say the IFB headset I bought had low impedance. So do the iPhone earbuds. So why would one work and the other not. Maybe because the IFB earbuds sound still have to travel through the sound coil instead of sitting right in my ear. I guess that would make sense.

If anyone else has more info to provide, I would love to hear it.