After Effects DPX workflow question

[Dom A]

Hi All,

Doing some keying in AE from 2K shot On RED. Shots got converted to DPX and has the usual 'low contrast' look. My question is, do I need to apply a linear or log convert to these shots before keying in AE (keylight, etc).

Also, there are one or two shots that are staying native 4K .R3D
Any particular convert I need to apply to those before I begin a key?

Thanks in Adv., and sorry for the noobness, just never keyed this stuff before, and our normal compositor is splitting.

Dom

[Kaku Ito]

If you choose the gamma space as REC709, it gives you the low contrast look. You can fiddle with contrast or the curve, but faster way is to choose the REDsapce as the gamma space choice.

[Eli Jarra]

I got this tip from the boys at Red Centre, chose Redspace as the colorspace and linear light for gamma. Worked great on the greenscreen in Keylight.

[Tim van Dammen]

Hey,

I have shot A LOT of green screen RED footage and keyed it. Often its a pain if you are working with the native files as the colors are only referenced etc... or whatever.

Here's a really quick and easy way to deal with native RED color keying:

Put the clip on the timeline, put on keylight, add whatever effects (curves, levels... whatever) to bump up that green/blue etc. Use the color picker, tweak the gain and screen matte settings to get a key.

Often you get a lot of noise on the keyed element... but whatever, the image doesn't have to look good, it just has to have a decent matte.

Drag out another copy of the footage underneath the matte you just made. Set it to use trackmatte - alpha matte. This will use the matte from the dirty image to key the clean footage without messing with the colorspace etc. Then if you need to you can use a spill suppressor to clean it up.

See how that works out for you.

Cheers
Tim

[Ido Karilla]

Since your shots are already DPX's then just implement a log to lin for viewing and keying render without that Lut.