[Keefa Chan]

great help, thanks so much.
🙂

[Keefa Chan]

@mreithoffer 37650 wrote:

if you dont use the PointCloud as reference in 3d space you could only keep the solved camera in your script and remove the rest

just create a new camera and copy all the values from the solved one

I do need to still be able to use the points to attach cards. Any way of getting around that?
In the case of not needing the points , I copied all the values to a new camera from the solved camera but it still expression links back to the camera , even though i was using ‘copy animation’.
Thanks for your help

[Keefa Chan]

@Mel 32511 wrote:

THanks, yeah the r3ds were debayered PD log 985, RED space with the exposure @ -1. It was tHen graded slightly in baselight & output Log as a dpx sequence.
When i view the dpx sequence in Nuke as RAW with no viewer lut, it looks the same as in the flame, ( with the flames colourspace: video. which i never understood but thats another topic)
Also, i output a frame in the colourspace REDLog & one in Cineon and imported into the Flame. Cineon was a deadmatch, but the REDlog space was the one that matched the flame when viewing on the monitor in Nuke.
Cool, so i get that reading in & out RAW would keep the colourspace. So why would REDLog look correct on the monitor (with sRGB viewer) but be the wrong colourspace when checking in FLame?
My aim is to output Log since thats what baselight gave me, and to be able to view this file correctly in nuke.

Thanks heaps for your help , i look forward to your reply

Also, is it just that im not viewing the log files correctly in NUke? DO i need to look through a log to Lin viewer or something?

regards,
Melissa

[Keefa Chan]

THanks, yeah the r3ds were debayered PD log 985, RED space with the exposure @ -1. It was tHen graded slightly in baselight & output Log as a dpx sequence.
When i view the dpx sequence in Nuke as RAW with no viewer lut, it looks the same as in the flame, ( with the flames colourspace: video. which i never understood but thats another topic)
Also, i output a frame in the colourspace REDLog & one in Cineon and imported into the Flame. Cineon was a deadmatch, but the REDlog space was the one that matched the flame when viewing on the monitor in Nuke.
Cool, so i get that reading in & out RAW would keep the colourspace. So why would REDLog look correct on the monitor (with sRGB viewer) but be the wrong colourspace when checking in FLame?
My aim is to output Log since thats what baselight gave me, and to be able to view this file correctly in nuke.

Thanks heaps for your help , i look forward to your reply

[Keefa Chan]

The dpx sequence has come from baselight. We are not using the R3d;s, as there has been a slight grade applied, hence it coming from Baselight. The dpxs where output from baselight as log. I am reading them into Nuke. I need to output exactly what i am given. It is a potential film out.

Cheers

[Keefa Chan]

@Keyser_Soze 32306 wrote:

As far as I know after effects won’t handle timecode and meta-data. I can think of two workarounds though. The first one would mean some extra rendering steps so maybe not ideal. Anyways, if you have Nuke or Shake you can use that and copy the metadata from your original file back in your new comp. Like I said, a few extra steps but at least you’ll have your lost meta-data back again. The other solution, and this might not suit your pipeline? You mentioned that you have flame in your “arsenal”. What you can do is to use Flame’s ability to have a file name based timecode. It could look somehting like this:
Whateverproject_Shot_01.120428.dpx
Whateverproject_Shot_01.120429.dpx
etc.
The number between the dots is the timecode. So as long as you render your comp with the exact same sequence numbers you will keep the timecode in the file-name and that will then be translated back to actual timecode when importing your comp in flame again.

Hope that helps.

Hi there,
thanks heaps for your help.
Thanks for the work around by using Flame & NUke. Thought about that one but was hoping to see After Effects be able to do this job on it’s own, though no prob if not. Good to know!

CHeers
Mel

[Keefa Chan]

Hey thanks guys for your input,

yeah my dpx frames have the meta data of timecode, bit depth, resolution etc. I can see this information & keep it in tact in Flame & Nuke but am unsure of how to keep it intact in After Effects.
I want to keep this information in tact for when i export these frames back out of after effects, after doing my composite.

Cheers!

Mel

[Keefa Chan]

wanting to keep the timecode intact 🙂

[Keefa Chan]

wanting to keep the timecode intact 🙂

[Keefa Chan]

Hey so is this the same steps i’d take to compile from an EDL>?

[Keefa Chan]

Thanks Rohit,
I couldn’t of asked for a better explanation!
Thats just great.

thanks again

Melissa

[Keefa Chan]

@alexudell 30073 wrote:

I don’t know if you need to generate transcription at all, but if you have a decent audio source, Adobe’s Sound Booth CS4 and Premiere Pro to Speech to text transcription. The better the source, the better the results.

Hi Alex,

That’s fantastic! I’ll sure to remember that idea. Nice one!~

[Keefa Chan]

Heya Rohit,

thanks very much for the tips! Subtitling heaven awaits.
Yes still in NZ. Lots of fun here.
Thanks once again

Mel

[Keefa Chan]

THanks Dan & Chris. THat was very helpful and worked. 🙂

Mel

[Keefa Chan]

Hey Adam,

Thanks for that, i will try that one out.
Cheers

Mel

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