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ColorGHear TOOLKIT- color grading SYSTEM for AE
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  • shianshian

    The Hollywood Reporter's obituary on my mentor, John Lowry. RIP http://www.hollywoodreporter.com/news/john-lowry-renowned-restorer-hollywood-284089

  • shianshian

    @No_SuRReNDeR Yup! You can absolutely setup AFX to render across multiple machines, you'll need a networked drive, you'll use the collect function and copy all the files into a shared "watch folder", and then do this:

    http://help.adobe.com/en_US/AfterEffects/9.0/WS3878526689cb91655866c1103a4f2dff7-79a2a.html

  • artiswarartiswar

    @shian - Some intereresting stuff from Adobe

    "Color and Dynamic Link After Effects works with the RGB (red, green, blue) color model. AdobePremiere Pro, however, works with the YUV color model. When you work with a dynamically linked composition, Adobe Premiere Pro either converts it to YUV or retains the RGB colors, depending on the output format.

    Dynamically linked compositions are rendered in the color depth of the After Effects project (8, 16, or 32 bpc, depending on project settings). Set the After Effects project color depth to 32 bpc if you’re working with HDR (high dynamic range) assets."

    Especially the first bit about color.

  • chauncychauncy

    I was going to put the comment on the site, but there's no comment bar on the bottom of the tutorial page.

    About fx encoding: Rendering out of ae uses the same endoing engine as media encoder, ae uses an embedded version of media encoder- so it's the same engine as going out of premeire. Is that correct ?

    As of cs 5.5 you can drag and drop an afterfx comp. into media encoder as well.

    However, the custom renders you gave us are only visible in fx. The custom encoding presets in fx and in media encoder don't play together. Which is just stupid by adobe. So I have to port them.

    Another rendering question,

    the 5dtorgb debate rolls on. Are you using it before editing files in adobe? Or working with the mts files directly? I don't care about the debate, just want to know what you do. Seems to me that the final 444prores of dnxhd encode does the same thing in the end.

  • shianshian

    Right here is the best place. It's seems to be where the public is going for info on CGT

    http://colorghear.com/the-revolution-begins-january-1st/

    As far as PP and ME, I don't really know, that'd probably be a question for Adobe. I don't have the full Suite, just AFX. But by all means, feel free to do some short tests and comparisons to see if the quality is the same.

    I go from 5DtoRGB into ProRes 444 no gamma, then import into FCP for editing - FCP into AE via Automatic Duck - grade and render out ProRes 444 from there, then export everything else from either QT Pro or Compressor.

  • artiswarartiswar

    @shian - Where does audio come in?

  • shianshian

    Not sure I understand the question, but i always do audio separately, either in Soundtrack Pro (if I'm doing it), or export an OMF for Protools (if I'm having done by someone else), and marry them back together in QT Pro.

  • artiswarartiswar

    And this marriage, is it another compression step?

  • shianshian

    @artiswar nope. You are only attaching them, like a wrapper, so they are 2 separate files that operate as one

  • artiswarartiswar

    Very clever. Thanks!

  • tinbeotinbeo

    @shian wish you could do a tutor matching color of gh1&gh2 as promised " help is coming" soon

  • stoneystoney

    @artiswar

    If the # of clips is small enough, I edit everything from AE. Trim, insert, compose, etc.

    Otherwise I'd use PP CS5 to compose then open PP project from AE CS5. This might be more useful when I upgrade to PP CS 5.5 or higher as it can sync audios. Hopefully it is one-way trip from PP to AE.

  • shianshian

    Dynamic Range tutorial is now live.

    @tinbeo I've messaged you several times to send me 2 clips (1 GH1, 1 GH2) that you are trying to match, I can't tweek a specific GHear for this without such footage, but I'm more than willing to do so.

  • RJHRJH

    @shian regarding exporting from FCP into AE using automatic duck, what settings do you use? And just to confirm, when using 5dtoRGB, you import at prores 4444, ITU-R BT.709 decoding matrix, gamma flagging set to none, post processing none...is that all correct?

    Cheers

  • shianshian

    @RJH It's all in the Automatic Duck tutorial (#6), and the 5DtoRGB settings you listed are correct

  • RJHRJH

    @shian cool, thanks.

  • stoneystoney

    @shian The latest tutorial is simply awesome. Thank you!!!

  • artiswarartiswar

    I'll be uploading a CGT and Quantum 9b test sometime tomorrow. A match made in heaven.

  • shianshian

    I needed a nap while working on the Legacy versions, so I rendered this out for kicks.

    It's the version put together in the Addendum to Working with Sequences Tutorial. Considering the source file is an MP4 downloaded from Vimeo, it's not bad.

  • spacewigspacewig

    @shian

    For those of us editing on PrePro CS5.5 on Win7, is it necessary to convert the files first or should we stick to the original MTS files?

  • artiswarartiswar

    As promised, here it is CGT and Quantum 9b.

    Took me a total of 10 minutes to grade.

    Gears used on the night shots: CineGamma Simply Cool Dense Night

    Gears used on the day shot: CineGamma (slightly tweaked curve) Minus Blue Dense Night (Heavily mixed down)

  • No_SuRReNDeRNo_SuRReNDeR

    @artiswar What lens were you using at night?

  • artiswarartiswar

    @No_SuRReNDeR - It was all on the 28mm.

  • No_SuRReNDeRNo_SuRReNDeR

    Oh cool very nice footage :)

  • shianshian

    @spacewig you're fine either way. There seems to be a debate on whether the files converted in 5DtoRGB are better than the raw MTS. They are definitely better than the files converted in FCP, so it's up to you, but I've been able to get excellent results from the MTS files.

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