We've are compositing in rec709 as opposed to the default no-color space in AE, and when we switched to 709, it seems to be quite a bit brighter in gamma and offset.

Something I discovered is that not all Rec709 profiles are created the same - some have a technically wrong gamma. This includes Rec709 profiles that ship with Adobe products.

Read more: Correct Rec709 Profile

The best way to convey the story and director's vision through visual effects begins with good pre-shoot planning. Very often we can find substantial cost savings and/or improved VFX quality with minor adjustments to the planned image acquisition. The right combination of practical and digital effects work can save money and lead to better final results - and the time to determine this is well before shooting.

Read more: VFX Planning

QUESTION: I have a shot of a person where I want to make a slow motion camera flash effect, just like in Cinderella Man when he's boxing in the ring. I tried to put a transition that dissolves to white with a camera flash sound, but it was flat and fake in appearance. 

Read more: Relighting

QUESTION: Why doesn't Rec709 have a specific gamma?

Rec709 has always specified a gamma, it is:

Read more: Rec709 Gamma

Helpful Files for General Titles™ Clients

Read more: VFX Downloads

QUESTION: Which would give the best colors? Shooting aRGB or sRGB? And what bit depth should I use in After Effects?

First off, I'd like to mention that there is no such thing as aRGB. There is sRGB, and there is AdobeRGB, but Adobe RGB should never be written as aRGB.

Read more: AdobeRGB vs sRGB

QUESTION: We have shot a movie on RED and are adding some VFX to the shots in After effects. I've read I have to interprete my Raw footage to log, right? To sell the composite effect, the added effects have to have the same log-look my material has now, right? Do I need a color profile? What about this checkbox at the DPX-settings "logarithmic conversion"? What is this about?

With Red or film footage it is preferable to work in 32 bit linear for all compositing. You *do not* want to work in "LOG" space.

Read more: RED and After Effects

I want to address a common misconception. Some people shooting video or JPG with dSLRs claim:

If you are going to shoot JPG or video on a DSLR then shoot in Adobe RGB 98 because it is a wider color space. You can always switch to sRGB later and it will throw out the extra data

This is, quite frankly, WRONG. Being a “wider” colorspace does not make it a “better” colorspace. Especially when dealing with 8 bit file formats.

Read more: dSLRs and Colorspace

QUESTION: I've been playing around trying to create something that looks like this cool retro intro to ABC's Sunday Night Movie. The way the text streaks has be a bit bamboozled. Is this slit scan? An old school digital effect?

Read more: Aerial Image

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