LUT After Effects

Hello everybody,
I am working on the following problem and I cant find a solution.
Maybe you have an answer.
I shot some footage on a 5D and cut the whole stuff in premiere cc.
Then I used the link to speedgrade to do my grading.
Now I have to do the post, means grafic, typo and so on.
The only way to use the original material in AE is to duplicate the sequenze
and open it in After Effects (whitout LUTS - I dont know why).
So I have to export every single shot from speedgrade and after that import every single LUT to
place it on the original material in After Effects:
Effect/utility/Apply color Effect
OK its a long way home, but now I thougt thats it and I have the full control over
my footage (means including handles)
BUT....
Unfortunately the look of the images are not 100% the same.
There are artifacts in the image which do not belong there.
I put a link of two images, the second from speedgrade and the first is a frame of the footage with the
LUT from speedgrade in After Effects.
I use the same color depth in both projects.
I think there must be a problem with the working space. But I tryed all versions but no one works well.
I know I pushed the 5D material to the limit, but for some reason in speedgrade it is fine in AE not.
And there is also no problem in premiere when I use the direct link.
Maybe there is one specialist who knows an awnser.
THX in advance
and greetings from Germany

Some of the more experienced folk around here have preached a workflow like this:
1) Edit "lock" (no more editing expected) in Premiere Pro;
2) Link to After Effects for adding in fx stuff, titles, et al;
3) Back to P-Pro w/Ae stuff included;
4) Send to Speedgrade via direct link for grading;
5) Final check in P-Pro;
6) Output throu Media Encoder.
I'd note, this means that the stuff from Ae is sent back through P-Pro and then on to Sg, which ... I'm told ... works better than the other way around. I've not much experience in Ae yet personally, so ... ymmv from what I've been told.
There are some things where Sg and Ae don't totally communicate, but run through P-Pro it seems to get around  that. I'm on my laptop, not my workstation at the studio, so I've not got the programs here. Though I do wonder why you don't send direct from P-Pro to Ae, where Ae just opens up with your project loaded ... vastly easier.

Similar Messages

  • Using a 3d Lut in after effects?

    I´m working at a digital film restauration facility and our workflow is
    arri scanner -> restauration software -> after effects (color correction) -> Arri Laser
    we are working with logarithmic dpx files, using a 3d Lut for previewing purposes on the monitor
    As i know, you can only use ICC profiles in after effects, bummer.
    Is there any way or workaround to use 3d Luts in AE or does anyone know a way to convert a 3d Lut to an ICC profile?
    I found a possible way at http://www.color.org/creatingprofiles.xalter within SampleICC, but it´s for developpers and i don´t seem to get it to work
    any ideas?
    I attached the 3dlut, if anybody has the option to convert it
    http://audiovisual.at/download/3dlut.zip
    this is also a feature request to adobe, please add 3d-lut support, it´s quite an industry standard and i guess a lot of people might apreciate it !!!
    thnx

    I do have a vested interest in this, but LightSpace CMS from Light Illusion can hlp with LUT conversion, etc.
    We are also about to launch SpaceMan ICC for LUT to ICC Profile conversion.
    Steve Shaw
    LIGHT ILLUSION
    [email protected]
    +44 (0)7765 400 908
    www.lightillusion.com
    Skype: shaw.clan
    LUTs, CUBEs + GAMMA CURVEs

  • How is the After Effects CS5 (10.0.1) update working for you?

    The After Effects CS5 (10.0.1) update is available. It fixes a lot of crashes, errors, and other problems, and it adds some capabilities for RED (R3D) footage and the Apply Color LUT effect.
    After you've installed the update, let us know how it's working for you.

    Todd,
    I installed it over the weekend after seeing it mentioned in my RSS feed and have been using it heavily for a few days. The updater launched from within AE did not find the update. I had to go to the download page that was linked to in the feed. Installed from that download with no problem on Windows 7.
    AE 10.0.1. has crashed on me twice over the weekend. Both times I was scrubbing through a composition that uses a pretty intense plug-in (Video Gogh). I would submit a bug report to Adobe or the plug-in developer, but the problem has not been repeatable. Also, an AE composition dynamically linked to PPro may have made PPro crash. I wish I could give more details on that but I was, as usual, trying to do too many things at one time.
    Other than that, everything went smoothly during many hours of compositing in AE.

  • Color grade from after effects to premier

    I started my color grade in after effects before i edited my video how do i send the footage over to premiere using dynamic link? or should i export the footage individually and then import them to premier?

    There is no one best way to do this for each project. On professionally produced high end projects final color grading is usually the last step by the initial color grading could have been applied upon import of the camera original footage using LUT's. For most projects that are finalized in Premiere Pro I color grade in PPro or Speed Grade. The new Magic Bullet suite from Red Giant makes this very easy and effective if you need advanced color grading.
    Inside AE I will often nest sequences for initial color grading inside AE and if a shot needs a bunch of help I'll color grade before I start. I know this doesn't help much but the best, most efficient workflow depends on the project.

  • Color Finesse vs Colorista 2  Premiere vs After Effects for color correction

    Hi,
    I want to get in to color correcting of my Canon XF305 footage that is converted to the Blackmagic 10 bits lossless codec.
    I have two Eizo calibrated monitors etc , but my only doubt is the choice of the program (to do it in Premiere-pro or After Effects) and with Color Finesse or with Colorista 2.
    So if there are people with color correction experience please share it here.
    Thanks! David

    When shooternz said 'gain' I presume he means "what was the benefit". If your original footage can be opened in PP, converting it isn't usually necessary unless you find the scrub performance is really hampered by the camera's codec - and that's more of an issue for line editing rather than color correction as you won't be playing it back and forth very much. PP will edit in 32-bit color space no matter what the footage is, so you don't need to force the ingested material into a higher bit depth.
    We get the 'real time' question asked a lot. PP is a non-linear editor so realtime playback and scrubbing are essential, but the exact content of each frame isn't all that important. AE works on individual frames so it's not designed to play back in real time - it has to compose all your effects onto every single frame before it can show you the results, and in every frame it processes every pixel. The realtime monitors in PP don't do that - they show something that looks visually the same but only some of the frames are actually processed, then the rest are interpolated.
    AE has some extremely powerful CC tools, but realistically it's intended for use on small clips - if you look at grading workflows in studios their typical AE timelines might only be 20 seconds max, and often only a couple of seconds. It can work with longer clips but it gets painful. The big advantage in AE is the ability to layer up lots of effects with masks, so for example you can color-correct a video clip so it exactly matches another clip or a still image, fine-tuning one coffee cup in the background of a scene or relighting in post by masking up zones of color and exposure adjustment.
    PP on the other hand is great for long timelines and cutting together clips into a program - that's what it's designed for - but it works on clips so correcting at a frame-by-frame level is correspondingly horrible. I'd say the 3-way CC in PP is perfectly fine for prosumer and indie work; if you know what you're doing it's possible to replicate any of the motion picture styles people are used to seeing, it's simply that it doesn't have a library of presets and you don't get the same level of spatial controls (there's no masked adjustment layer concept in PP like there is in AE). As shooternz says some of the third-party plugins for PP give you those power tools.
    New in CS6, Speedgrade provides a standalone program with more powerful features, though the workflow at the moment isn't all that seamless (SG wants frame images, as do most pro grading applications, so there's a gnarly export-import thing to go through that makes round-tripping a one way street).
    A professional colorist will use a standalone grading program for several reasons, but they're not all down to pure 'quality';
    pro colorists tend to use special hardware desks with physical versions of the three color wheels, and they only work with certain software.
    if you're matching the 'look' of an entire motion picture, being able to store, share and batch process with preset styles and look-up tables (LUTs) is important - MB Looks and the Colorista plugin bundled with AE both have libraries of presets, the native fast and 3-way CC tools in PP don't.
    On a big project the grading is done by someone other than the editor, so they don't generally need (or want) access to the master timeline - they'll get an exported mezzanine format from edit (an image sequence or uncompressed video track) so don't care about all the other stuff PP or AE can do.
    If your only job is grading then a standalone package is the way to go. If it's one of an army of things you do, from shooting and editing to burning the DVDs and writing the blog, I'd say to stick with the inbuilt tools in PP/AE, have a go in Speedgrade if you have CS6 and some time to teach yourself, but the expense of a standalone grading tool would only be worthwhile if you have a few months spare to learn the skills. There's a reason the best colorists earn top dollar, it's 50% art, 50% science and 100% dedication.

  • Alexa color issues in After Effects

    Hello,  I am working with DPX files in After Effects CS6 (Mountain Lion) that are in the Alexa Log C color space with no intermediate color grading or treatment straight from Technicolor.  My problem is this:  I am trying to color correct the DPX files to match Avid DNxHD color graded reference quicktimes that were genereted from the same DPX files using a LUT and a CDL.  In the past I have never NOT been able to match color perfectly using LEVELS by adjusting the color in each color channel individually while comparing it to the clip I am matching it to.  Not only do I find it impossible to match the DPXs made from Alexa raw footage to a color corrected version of this same clip that is in quicktime DNxHD format but I am finding the red channel in the DPX files behave in ways that are unlike anything I have ever worked with before.  I have done extensive research in regards to this issue to no avail.  Technicolor has supplied a LUT for NUKE and SHAKE that along with a CDL, is supposed to recreate the color grade of the quicktimes.  I have used Colorista free to input the CDL values as well as LUT buddy to incorporate the LUT that I was given with no luck.  Even compensation with levels does not work because the red channel will NOT cooperate.  I also used the LUT utility in After Effects with the same results.  I even contacted the person in charge of such things at Technicolor and they admitted that they gave up on After Effects in regards to providing a solution to color matching Alexa footage that has been converted to Avid DNxHD and baked with a LUT and CDL.  I can't be the first person to have run into this issue and there MUST be a solution out there that doesn't involve switching to Nuke.  Anybody?

    Hi Jonas,
    Please forgive my latency in this response, things have been crazy.  Thank you again for your help in this, here is the drop box link to the DPX file:
    https://dl.dropbox.com/u/44859261/test-dpx.dpx
    I will also tell you what I do know,  Technicolor has been taking the ArriRaw files from the Alexa and using the Color Front OSD to convert them to DPX files.  I was told that the DPX files have a LogC conversion LUT baked into them that was supplied by ARRI.  Along with these DPX files we receive quicktimes of the shots in Avid DNxHD format that have been converted to linar color space.  I am uncertain as to the process (if they are produced by processing the DPX frames or if another process is used to generate them from the same ArriRaw files).  I would love to know the answer to this myself.  I also think that a CDL has been baked into the quicktime that is supplied by the director of photography.  I am still collecting information while trying to get shots done as well.
    With all that said, my issue is still a mystery to me.  Upon any attempt to use (Levels) in After effects to get the DPX files to match the quicktimes that we were supplied by Technicolor, (like I have done thousands of times in the past with no problem until now and only with files generated from the Alexa) I cannot get the DPX to match, the color information in the DPX files acts as if it has been clipped, making it impossible to reach the range of colors in each of the color channels that are being displayed in the quicktime.  Particularly in the red channel.
    I have the LUT that Technicolor is supposedly using to generate these quicktimes that along with the CDL which I also have and am using Colorista free to introduce to the clip, is supposed to match the DPX to the quicktime but these do not work either nor does any supplemental adjustments. 
    Somehow, someone at Technicolor is able to go from an ArriRaw file to a quicktime with a specific colr grade that is unattainable by me using the DPX files that I assume these quicktimes were created from.  Sice color is color, I should be able to do the exact same thing anyone else does to a clip no matter what UNLESS the DPX files I have have been compromised which I am told over and over again are not.  This is where I hope you can shed some light on my delima.  If you can take this DPX file and match it to the PNG I pasted into this thread than you are doing somethng I am not and I hope that is the case. 
    Thak you again Jonas!
    Clyde

  • I am trying to install after effects, but no matter what version I try to download, there is always a different error not allowing me to open or use the program after I have already installed it.

    I have recently repurposed an iMac from late 2009 as an editing machine, and have been trying to install preferably After Effects CS6.  When I install and try to open it for the first time, the program quits unexpectedly and continues to do the same every time I try to reopen the program.  After no luck experimenting trying to fix the problem, I attempted to download the trial of After Effects CC 2014 to see if the problem was with the computer or with the application.  After installing CC, there was another error when I attempted to open it.  My final attempt was taking After Effects CS5 from an old hard-drive and attempting to open it on the iMac.  When I open CS5 I am greeted with another error message telling me to reinstall After Effects.  After reinstalling I get the same message. 
    I am confused to whether my computer can handle After Effects, or there is another error occurring.
    Any help would be appreciated.
    Thanks
    -Eli
    (Mac OSX 10.10
    3.06 GHz Intel Core 2 Duo,
    4 GB 1067 MHz DDR3
    NVIDIA GeForce 9400 256 MB)

    I don't know if these are important or not, but I thought I would include them anyways.
    Thanks again
    Eli

  • After Effects CS5.5 Wont Open - Application Just Bounces In The Dock.

    Hi all,
    I appear to have encountered a problem with After Effects... I was working on a project earlier today which usalizes a VideoCopilot plug-in called Element 3D. After a quick break I came back to the project and attempted to load in the 'Free Earth Project' by VideoCopilot. (http://www.videocopilot.net/blog/2012/08/free-earth-project-for-element-3d/). As their site suggests, I had to place a downloaded project folder called 'Earth' into Element 3D's 'My_Models' folder. Immediately after this I tried loading After Effects and encountered the issue. I'm not sure if it's couincidence or directly related which is why I am posting here.
    After Effects does nothing but bounce in the Dock. When I right-click the application I'm met with a 'Force Quit' option, and a message saying "Application not responding". I'm on OS X 10.7.4. I'm not able to tell you what version of AE I'm running, only that it's CS5.5, as I cannot lanch it to find out. All other Adobe products work with no problem.
    I have already contacted the support team at VideoCopilot and they have sent me an updated build of Element 3D in an attempt to resolve the issue, unfortunately though this did not work. Addiitonally, I have tried booting into Safe-Mode and tried to launch the application from there, as well as using Disk-Utility to 'Repair Permissions'. All of these steps have failed to get AE working again.
    If anyone knows of a way to fix this I would be most grateful. I'm working to a very tight deadline and am afraid that I will miss it. Additionally, if anyone has any fixes that doesn't require reinstalling applications that'll be a bonus!
    I've also attached a crash-report to this post incase it's of any use in determining the cause of the problem (I couldn't find a way to attach it directly, so the file is hosted on my website - I apologise in advance if this is against forum rules!) -  http://www.starfireindustries.org.uk/uploads/8/6/6/1/8661295/ae_error_report.rtf
    Thanks in advance,
    John.

    Something similar here:
    https://discussions.apple.com/thread/3826648?tstart=0

  • CS5 or CS5.5 Adobe After Effects

    I have a Mac OS X version 10.5.8 and was wondering if CS5 or CS5.5 Adobe After Effects was available still?

    No. You can only buy current versions. If your machine allows, it would be easier to just upgrade OSX, otehrwise you'll have to find a legit used copy of these older versions, which might prove quite difficult...
    Mylenium

  • Serious resolution issues with After Effects CC (2014) on Windows 8.1 Pro on Dell Precision M3800 laptop??

    My new company installed Adobe Creative Cloud (There was some annoying Proxy issues at first, because of the seriously tight I.T policies) but we are having some serious resolution issues with After Effects CC 2014 (also have this resolution problem with Adobe Premiere, Media Encoder, Muse) on Windows 8.1 Pro on a Dell Precision M3800 laptop with icons and interface looking too small and hard to see, is there a fix, an update or a work around, can anyone help?
    Any help will be appreciated!
    k.regards
    Ramon

    Hi Todd is there a time-frame for this fix, there is a lot of pressure on me, because I convinced my company to get the Creative Cloud and quite a lot of the CC software is not compatible with the latest Windows 8.1 OS.
    Is there at least a work around, until this big fix comes along?
    k.regards
    Ramon

  • Media Encoder CC not using GPU acceleration for After Effects CC raytrace comp

    I created a simple scene in After Effects that's using the raytracer engine... I also have GPU enabled in the raytracer settings for After Effects.
    When I render the scene in After Effects using the built-in Render Queue, it only takes 10 minutes to render the scene.
    But when I export the scene to Adobe Media Encoder, it indicates it will take 13 hours to render the same scene.
    So clearly After Effects is using GPU accelleration but for some reason Media Encoder is not.
    I should also point out that my GeForce GTX 660 Ti card isn't officially supported and I had to manually add it into the list of supported cards in:
    C:\Program Files\Adobe\Adobe After Effects CC\Support Files\raytracer_supported_cards.txt
    C:\Program Files\Adobe\Adobe Media Encoder CC\cuda_supported_cards.txt
    While it's not officially supported, it's weird that After Effects has no problem with it yet Adobe Media Encoder does...
    I also updated After Effects to 12.1 and AME to 7.1 as well as set AME settings to use CUDA but it didn't make a difference.
    Any ideas?

    That is normal behavior.
    The "headless" version of After Effects that is called to render frames for Adobe Media Encoder (or for Premiere Pro) using Dynamic Link does not use the GPU for acceleration of the ray-traced 3D renderer.
    If you are rendering heavy compositions that require GPU processing and/or the Render Multiple Frames Simultaneously multiprocessing, then the recommended workflow is to render and export a losslessly encoded master file from After Effects and have Adobe Media Encoder pick that up from a watch folder to encode into your various delivery formats.

  • Adobe Bridge CC not playing After Effects CC animations

    Hello,
    I am fairly new to After Effects and Adobe Bridge, and I recently ran into a problem.
    So, when I turn on After Effects , and in the Effects Panel , I click "Browse Presets", and then It opens Adobe Bridge. But when I single-click in any kind of an animation in Bridge, it's not playing it in the "Preview" panel.
    The little Windows's "picture icon" just starts zoomed in, and then it quickly zooms out.
    I'm using a freshly installed Windows 8.1 , and fully updated Bridge and After Effects.
    What might be the problem?
    If you want, I could also record the problem with a screen recorder and upload it to YouTube.
    EDIT : I just fixed the problem by updating Bridge to the latest version (CC 6.1)!
               The animations are playing smoothly without any problems! Just run the Adobe Update Manager, and update
               Bridge!
    Edited by Michael Jackson, 1999.

    Hi,
    Please refer to the help document below:
    CC applications close immediately after launch
    Regards,
    Sheena

  • I am new to After Effects and Motion 5 and I have a question

    Hello there,
    I am currently working on a personal side project for a family member. She would like me to make a video with recorded audio and pictures from the 1920’s for my grandmother. I would like to give the parallax and 2.5D effect a try but as I never used After Effects or Motion before I am a little overwhelmed.
    I have about 80 images to animate. Right now I am in the ‘Photoshop phase’. I am going through each image and separating the foreground, mid-ground, and background, into separate layers and saving the .psd files to eventually bring into Motion 5 (or After Effects) and animate.
    After seeing this video:
    https://www.youtube.com/watch?v=ZVrYyX3bHI8
    I really wanted to animate the images I had in a similar fashion. I really loved how they seemed to move and know that I can accomplish this appearance with the pin tool in After Effects. After seeing this video however, I continued looking into the 2.5d effect and found this movie for Motion 5:
    https://www.youtube.com/watch?v=gmxlm2nkVLA
    I bought Motion 5 because I thought the interface seemed more user friendly to newcomers (like myself), the effects were similar, and because I couldn’t afford to pay for After Effects every month.
    But now I am kicking myself. Motion 5 is lovely and I do like the camera effects but I don’t think I can accomplish the ‘puppet’ effect with it like I can in After Effects. Does anyone know if it is possible? Is there a plugin for Motion 5? Can I send my .psd files into Motion 5, set up the timeline and cameras, save it, and then move it into After Effects and then use the pin tool to manipulate the images and layers?
    I have read that some say it is hard to move Motion files into After Effects? If this is the case, could I save the Motion file, open it in Adobe Premiere, and THEN open it in After Effects and play around with it?
    Any help is appreciated. Thank you so much in advanced.

    2.5D is fairly easy to do in Motion... that's the good news. The bad news is: if you don't know what you need to do to accomplish it, it's practically impossible to do easily or well.
    The first problem to overcome is perspective, and the other problem is parallax.
    These two tutorials (by Mark Spencer) will give you all the information you need dealing with moving Photoshop Layers in Z-space. Even though the point of the tutorials is a "fly through", the same information applies to creating 2.5D. Just animate the camera laterally (sweep) instead of dolly.
    http://vimeo.com/1344282
    http://vimeo.com/1695145  (updated tips)

  • Bridge CC no compatible with the new After Effects CC 2014 ?

    Hi, I'm updating the Adobe suite (CC 2014) .but After Effects CC 2014 no longer works with the old Bridge CC (there is no update of Bridge). Since "browse presets" in After Effects when choosing a preset (dissolves etc) there is an error message:
    "After Effects error: can not import file" Entries lum.-marq.calque.ffx "unsupportedfiletype or extension (0 :: 1). With all presets.
    I tried on other computers with other adobe updated it makes such licenses except with the old version of adobe after effects (after CC effects) I tried too to change language of Bridge and After effects (beharps this is a langage compatibility problem) but the problem is the same.
    So I think the new version after effects CC 2014 is not compatible with the presets adobe bridge CC ??
    How can I do? I have to go through the old version of after to apply a preset Bridge? I can not even download it in cloud creativ ... there is only the new version of after effects...

    You need to ask in Community: Premiere Pro | Adobe Community but do not expect Adobe to discuss future plans
    https://www.adobe.com/cfusion/mmform/index.cfm?name=wishform for bug reports or feature requests
    This forum is about the Cloud as a delivery process, not about using individual programs
    If you start at the Forums Index https://forums.adobe.com/welcome
    You will be able to select a forum for the specific Adobe product(s) you use
    Click the "down arrow" symbol on the right (where it says All communities) to open the drop down list and scroll
    Also, this is an OPEN forum, not Adobe support... please do not post personal information

  • New PC, downloaded CC 2014. Flash not showing up as option to rip in Adobe Media Encoder or in After Effects. Help?

    Why is .flv not an option in Adobe Media Encoder or Adobe After Effects?
    Also, when Adobe Captivate converts the video it looses the Alpha channel.
    Help

    Thanks for taking the time to answer this question. Knowing this isn't possible at least narrows my options down. It would be helpful to provide some kind of list of what comp settings carry over into AME from After Effects. Is it essentially everything that is enabled in the Timeline? (I know that motion blur settings do.)
    I'll put this in a feature request, but yes, we need the other half of After Effects Render Queue in AME in order for AME to be a good replacement for rendering from AE. I'll give you my thoughts on why Render Settings are essential before you would actually want to render with AME instead of doing so because you have to (either because you want to render in the background, or need a codec that has been removed from AE.)
    1. Speed: Simply applying a Render Settings preset is much faster than manually setting motion blur, frame blending, work area, etc.
    2. Reliability: Not being able to apply a Render Settings preset at the time of render is a recipe for missing a crucial setting buried in a comp, then having to redo a render and wasting time.
    3. Features: As noted above, there is no way to approximate Render Queue's ability to change resolutions at render, which results in a lot of wasted time when that feature is needed.
    Render Settings I think are crucial to making AME rendering worthwhile for AE users:
    1. Rendering resolution
    2. Work Area/Entire Composition toggle
    3. Field Rendering (wait, does this mean AME can't currently render to fields?)
    4. And PRESET ability these settings, so I'm not doing them manually every time.
    I realize that your team clearly doesn't spend the same amount of time I do making low res H264 previews and sending final files out in H264 format, so you don't appreciate the impact of the changes you made. Moving to AME for that stuff is a real inconvenience, but implementing the settings above could help soften the blow.
    Thanks,
    Jerry

Maybe you are looking for