Author Topic: Workflow using MLVFS and After Effects (Read 35949 times)

Danne · « **Reply #25 on:** December 08, 2016, 10:37:40 AM »

Premiere works with 14-bit. MLP and cr2hdr.app produces cdng files 14bit. (Kudos dmilligan ml-dng branch).

canneloni · « **Reply #26 on:** December 08, 2016, 02:28:40 PM »

Hey Paul,
thanks for your reply! I used the SmartImport Script 2 or at least i tried. Sometimes it won't open anything but doesn't crash either. But when it works and opens Camera Raw, it is still the same. I apply my changes but they are only applied to the first image of the sequence.

PaulHarwood856 · « **Reply #27 on:** December 08, 2016, 03:09:14 PM »

Hey Danne,

Thanks for your reply. The biggest problem I had with editing 14 bit dng files in Premiere was the inability to remove dead pixels, even with MLVFS. The only solution was to use Adobe Camera Raw, via After Effects. Also the color did not look accurate in Premiere. Is it only with MLP and cr2hdr.app that the case is different?

- Paul Harwood

PaulHarwood856 · « **Reply #28 on:** December 08, 2016, 03:10:52 PM »

Hey canneloni,

You're welcome! Do me a favor, watch this video done by DeafEyeJedi: https://vimeo.com/188219725

See if there's anything he's doing different than what you currently are trying. Please report back.

- Paul Harwood

Danne · « **Reply #29 on:** December 08, 2016, 04:11:03 PM »

Hi!

Quote

Also the color did not look accurate in Premiere. Is it only with MLP and cr2hdr.app that the case is different?

I don,t work in premiere myself. You stated premiere only supports with 8bit and 10bit but apparently also 14 and 16bit files.
Color not accurate as in white balance?
I use this when in ACR(linear dcp profile) DNG files otherwise are treated as display referred files loosing a lot of good dynamic range.
http://www.magiclantern.fm/forum/index.php?topic=13512.msg172443#msg172443

Andy600 · « **Reply #30 on:** December 08, 2016, 05:00:50 PM »

A 'linear' DCP created with DNGPE is linear only in terms of the tone curve. You could call this 'perceptually linear' but it is still display-referred and will clip values outside 0.0 - 1.0.

You can't get a full range unclamped scene-referred linear image directly from ACR. Exporting a linear profile from DNGPE also affects color (sometimes by a lot depending on the camera) because the 1 or 2 HSV luts in most DCPs are contrast-referred corrections i.e. they need the tone curve. If you just remove the HSV components you need to factor in a degree of additional calibration when calculating new forward matrices.

Danne · « **Reply #31 on:** December 08, 2016, 05:10:52 PM »

Finally some quality knowlede meeting my loosely based ranting.
However I cannot get the same results without this profile only with the tone curve tool in acr.
A theory on what adobe calls 'linear' in this case seems more like a nicer highlight recovery much like -H 2 in dcraw. Now adobe has been using part of dcraw code right?
Why would I alter matrices if all I do is setting the dcp profile to linear? Every cam would work with their cam matrices and linear would be the same for every cam, whatever it is adobe calls linear.
Anyway, this profile still beats the flicker workarounds going on otherwise.

Andy600 · « **Reply #32 on:** December 08, 2016, 06:06:11 PM »

I don't know about Adobe using DCRaw. They invented DNG and have access to developer SDKs for Canon, Nikon etc so why would they?

re: altering matrices: As, I said, you need to compensate if you remove the contrast-referred HSV luts used in most DCP profiles just to maintain a degree of calibration. The color matrices are intended for white balance - color is just a fallback function if no forward matrices are included. The HSV luts are contast-referred (tone curve dependent) so switching the tone curve off (i.e. creating a DNGPE linear profile) makes those HueSatDelta tables invalid because DNGPE doesn't dynamically adjust their values to account for the new 'linear' tone curve.

Danne · « **Reply #33 on:** December 08, 2016, 06:11:43 PM »

Ok, other things in the pipe but thanks a lot for sharing your information.

PaulHarwood856 · « **Reply #34 on:** December 10, 2016, 12:18:17 AM »

Hey Danne,

I'll have to look into Premiere Pro's specs again, but Adobe had told me Premiere Pro only accept 8 bit or 10 bit correctly. So if you're trying to edit the colors, you need to see them as they are, which is only in After Effects for Adobe. This was over a year ago, so Adobe has upped their game. I'm aware 14 bit is accepted in Premiere Pro, but I remember getting the colors right was a lot more difficult since After Effects has Adobe Camera Raw.

- Paul Harwood

canneloni · « **Reply #35 on:** January 23, 2017, 08:37:38 PM »

Quote from: PaulHarwood856 on December 08, 2016, 03:10:52 PM

Hey canneloni,

You're welcome! Do me a favor, watch this video done by DeafEyeJedi:
See if there's anything he's doing different than what you currently are trying. Please report back.

- Paul Harwood

Hey Paul,

it seems like it is an error with MLVFS. If i copy the folders from the virtual harddrive to any other place and open them in after effects i can apply changes to all frames, not just the first. I also used MLVProducer and exported DNGs and everything worked fine too. I use MLVFS excactly like in the video you linked.

Aleks94 · « **Reply #36 on:** March 24, 2019, 01:07:36 AM »

Hi all,

I have a problem which I haven't seen tackled in this thread.

I was excited to use the Smart Import 2 script on some dngs as I thought it might enable me to 'output' them as Pro Res, as in this video

(screenshot included)

I, on the other hand, don't have this option (screenshot also included

.

Would anyone know how I install the Pro Res codec to Adobe AE?

Full disclosure, I have the Adobe Cloud version of Adobe Softwares, all paid for, so not hacked version or anything like that, and up to date. Really confused as to why I don't have the Pro Res option...

Thanks guys.

Walter Schulz · « **Reply #37 on:** March 24, 2019, 01:23:46 AM »

Specify version info for AE and macOS, please!

Aleks94 · « **Reply #38 on:** March 24, 2019, 02:03:16 AM »

Hiya,

Mac: macOS Sierra 10.12.6

Adobe After Effects: 16.01

Thank you.

Walter Schulz · « **Reply #39 on:** March 24, 2019, 08:47:24 AM »

Try https://support.apple.com/kb/DL1396

Aleks94 · « **Reply #40 on:** March 24, 2019, 01:05:52 PM »

Thanks for the link Walter, unfortunately, it doesn't work because I don't have final cut... I have also tried extracting it using unpackage 4.5, but weirdly it makes no difference to the available formats when I run the script. Later on, in Adobe Encoder, I can use ProRes, but not at the time of running the script.

Best,
A

Walter Schulz · « **Reply #41 on:** March 24, 2019, 01:35:01 PM »

Bring it to the appropriate Adobe forum then.

Aleks94 · « **Reply #42 on:** March 24, 2019, 02:43:25 PM »

Will do, many thanks.

Frank7D · « **Reply #43 on:** March 24, 2019, 03:52:33 PM »

Aleks, have you tried making an Output Module?

Aleks94 · « **Reply #44 on:** March 24, 2019, 10:52:23 PM »

I tried that too and similarly, can't make an output module with pro res - pro res doesn't show up as an option. This is odd as I do have it as an option of the final export...
I don't want to spam the thread so will investigate further independently

Thank you both for your time and advice, I really do appreciate it - learning something every day.

reddeercity · « **Reply #45 on:** March 25, 2019, 04:50:06 AM »

@ Aleks94 , Install the demo of final cut pro X that should install the pro codec pack .
in fact even demo of compressor & motion 5 should do the same thing.
Though you my still have to copy the codec in to adobe support file in A.E.
We have to do this to get prores 4444 xq to export .
I few years ago (2014) I made a video tutorial on getting prores4444xq in to A.E. CC 2014 & premiere pro
Start watching at the 5:00 minute mark to see how it's done . Hope it helps

Edit: some more info on A.E. & prores
https://www.magiclantern.fm/forum/index.php?topic=12455.msg158549#msg158549
https://www.magiclantern.fm/forum/index.php?topic=12455.msg159182#msg159182
https://www.magiclantern.fm/forum/index.php?topic=12455.msg142987#msg142987
https://www.magiclantern.fm/forum/index.php?topic=12455.msg143109#msg143109
link to Pro App Codec

Aleks94 · « **Reply #46 on:** March 28, 2019, 01:33:48 AM »

Thank you for this - it did not work with the Smart Import 2 script.
I hope I've made it clear that the problem I have is that the Pro Res format doesn't appear as an output option during the smart import - however, it is an option as a final export. I may just Smart Import as DV Pal, then render as Pro Res. I am guessing this affects the quality somehow but seems to be the best option for now. A lossless format and an attempted Pro Res output (made through edit - preset, then selection Apple Pro Res) both resulted in bizarre vertical stripes across image...

reddeercity · « **Reply #47 on:** March 28, 2019, 03:39:17 AM »

DV Pal is SD (standard definition) not HD , totally different color space etc. ......
If you don't have ProRes to work with , export Tiff's image sequence then you can
import in to apple compressor (or what ever you have) and render to ProResXQ or what ever you like for codec .
I do know Apple Compressor has batching and you can even setup a quick render farm and use as many
old mac computers as you have access to .
I have 2 old MP 1.1 & a MP 5.1 that I use just for that , makes quick work out of a large job .
So with my late model 2013 that makes 4 computer render farm .
sorry to off topic a little bit .
It may be a problem with your OS "macOS Sierra 10.12.6" not being compatible with Smart Import 2 script .

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Author Topic: Workflow using MLVFS and After Effects (Read 35949 times)