Stereoscopic 3dspace compositing in SHAKE 4.1

Hi!
I wonder if any others have the experience with compositing in 3d space, by using 2 cameras
(left and right, stereoscopic). In AE the way of doing this is to add two cameras beside each other and just parrent the one camera to the other.
I guess there are some troubles doing this with the multiPlane node, since the camera dont
have its own node?
Someone with the knowledge of this?
Arve Solli
Norway
Message was edited by: arvsol

Similar Messages

Photoshop file to Shake -- alpha channel question

I've been staring at my screen for an hour wondering about this, even though I know it must be simple, so any advice is greatly appreciated:
I have a short video clip of a syringe with no needle. I want to add a VFX "needle" as a composite in Shake. I drew the needle as a .tiff file in Photoshop. I added an alpha channel in Photoshop, so I have R,G,B,A channels in my .tiff file drawing. The alpha channel has a white shape that corresponds to the needle drawing and black for the background. I was thinking that my alpha channel will mask out everything except the Photoshop "needle."
I bring the Photoshop needle file into Shake and set up my Shake script as follows: "Needle" into the left hand input of an Over node and Syringe video into the right-hand input of the Over node.
I was expecting to get just the needle "floating" on top of the syringe video clip, and I would position it to connect up with the syringe. What I got was the "needle" with its square white background floating on top of the syringe clip. My alpha channel from Photoshop did not mask out the white background.
But when I load the needle into the viewer by itself and put my cursor over it and hit the "A" key, the alpha channel is plainly there -- a white area in the shape of the needle and black everywhere else.
Also, in the Node View window, when I put the cursor over the needle and hit the "A" key, the thumbnail clearly shows the alpha channel, a white area in the shape of a needle and black everywhere else.
But when I load the Over node into the viewer, the needle is surrounded by a white background. Does it work to build your mask in Photoshop and bring it into Shake? Is there a parameter in Shake that you have to set to make the Photoshop alpha channel active?
Jim

Thanks much, Zebulun. Toggling premultiply worked. In a side experiment, I later saved my Photoshop image as a .psd file rather than .tiff and when I brought that one into Shake, it came in with its clipping-path/mask working without using premultiply in the Over node. Not sure what the difference would be in how Shake treats the two file formats, but they both achieve the same end result.

Is Shake still relevant?

Now that there is the new Snow Leopard OS, and new Final Cut Studio, is Shake still relevant and a good product to work with?
I ask b/c I view my video work as mostly just a hobby and I wouldn't want to shell out the money to purchase Shake, only to find that it won't run well/at all with the newest software.

Robert Kleindienst1 wrote:
I view my video work as mostly just a hobby
If your hobby includes world-class compositing, then Shake is an incredible bargain.
$500 for Shake vs. $4500 for Nuke.
It works on Leopard just fine.
(It works reasonably well on Snow Leopard,
but do you actually need Snow Leopard?)
On the other hand, if you are just learning about all aspects of video,
you'll have plenty to work with using the FCS package. In that case,
I would suggest you save your money and skip buying specialized
software for now.

XL H1 24F with FCP 5.1.4

hallo dear FCP users,
I will be shooting a dokumentary in Berlin in the next couple weeks using 2 Canon XL h1 and will be editing the material on my Macpro 2,6 with FCP 5.1.4. I do not have an Aja Kona or anything like that and would like to edit the material at home, then when finished, take my projekt to a Post house where I can reonline the material uncompressed. I do have a few questions being that this is my first HD projekt...
I would like to use this 1080 24F setting on the Canon, are there any drawbacks to this. Would I be able to capture the material using my fire wire to Macpro? In my "Device Control" flip down tab I have only 2 HD settings DVCPRO HD 1080i 50 and DVCPRO HD Fireweire. Which shoudl I use?
I also have a slew of settings in the "Capture/Input" tab, I would imagen that I should use DVCPRO HD 100pA24 48kHz? is that correct?
If all this is possible how fat would the data be? I have some 400 GB free on my second drive. I am expecting a good 6 hours of material, 3 from each Camera, with 4 audo tracks. Would I have enough disk space for that, or should i run out and buy me another 500gb and set up a RAID?
If I were to set up a RAID are their any problems, is it very difficult? I have my normal mac drive 250 gb in slot 1 and a Maxtor 7H500F0 in slot 2. I have heard that there have been some issues with the 3rd harddrive slot? Should i avoind this? is it even necessary?
Ok thanks sorry to send so many questions at once. I would appreciate any help...
thanks a million,
Aaron
ps- i will also be doing some rather simple compositing with Shake. Would there be problems with this if i wold the re online my projekt?
mac g4, macpro 2,6 Mac OS X (10.4.9)
mac g4 Mac OS X (10.3)

I would like to use this 1080 24F setting on the
Canon, are there any drawbacks to this?
You should read and understand what 24f really is on your own
Would I be able to capture the material using my fire wire to
Macpro?
Yes as long as you have FC 5.1.2 or newer.
In my "Device Control" flip down tab I have
only 2 HD settings DVCPRO HD 1080i 50 and DVCPRO HD
Firewire. Which shoudl I use?
Well you can't use either of those listed because Cannon is HDV and if you use 108024p while shooting then that is what your capture should be.
I also have a slew of settings in the "Capture/Input"
tab, I would imagen that I should use DVCPRO HD
100pA24 48kHz? is that correct?
NO, follow the easy setup setting for HDV, 1440x1080 and read the manual of these Cannon H1's to know the edit time base for the camera record mode you chose.
If all this is possible how fat would the data be? \
Only 13 gi's per hour
I have some 400 GB free on my second drive. I am
expecting a good 6 hours of material, 3 from each
Camera, with 4 audo tracks. Would I have enough disk
space for that, or should i run out and buy me
another 500gb and set up a RAID?
NO you will be good to go.
If I were to set up a RAID are their any problems, is
it very difficult? I have my normal mac drive 250 gb
in slot 1 and a Maxtor 7H500F0 in slot 2. I have
heard that there have been some issues with the 3rd
harddrive slot? Should i avoind this? is it even
necessary?
No not necessary just make sure your capture drive is separate from the boot drive.
Good Luck
Z1&V1user

Importa a maya camera in motion?

hey somebody knows how to import a maya´s camera and locators in motion 3?
im doing some heavy post work and definitively import the camera from my 3dscene will help me to get the final look that i need (and reduce my render time)
i know how to do that in after efects but i need the replicator and the 3d particles, and render the 3d particles in maya is not a good option
PD: i apologise for my english (my navite language is spanish)

Ok, may be a bit complicated. First your best would be to render your 3D particles in Maya separetly using the hardware render.( not mental ray or maya software) then composite in Shake or motion.
but I tried to match maya camera movement in Motion and had good results.
http://homepage.mac.com/gguindi/FileSharing42.html
you can download the files in the link above and see the movie and a snapshot of the motion project.
I rendered in maya. took notes of every maya keyframe for the camera.
made sure both cameras started in the same positions fromXYZ=000 +maya offsets. then added 3 D particles in motion and it worked.
too mutch work but justified sometimes.
Also make sure the maya output movie is placed in a 2D layer in Motion with the alpha channel for composition. Have you effects in a 3 D layer above.
had to scale down the movie as the original is HD1080p over 2 gig.
Guindi

Creating green screen , blue screen and

Hi,
I am new to shake , I tried to read the manual as well as the Shake Training book but i just ended up in vain..
all i want is to make a blue and green screen.
also ..
"to make a person in LA look like walking in New York "
please help me , thanks!!!!
imac
imac

Hmm. Did you get through Apple's tutorials (you mentioned "tried to read..")? The tutorials that come with Shake are very good, at least for me.
Also, I'm not sure I understand what you're trying to do. Are you keying existing footage? Or, are you trying to shoot your own green/blue screen shot with an actor, and then composite over a background shot of NYC?
Basically need those two elements: your well-lit actor against a well-lit green or blue screen (go with green if you're shooting DV), and background footage or an image of NY. Then key your footage and composite in Shake. If your camera is not locked down, that's a whole different thing that I won't get into with you now (so, make sure your camera is locked down on a tripod and not moving, to make things easier).
But for starters you should grab a book on the basics of compositing. Wish I had something to recommend, but again, the Apple tutorials and the Shake book should be enough to get you going in the right direction. Spend some time on the tutorials, commit to them, and you'll be fine.
Hope this helps-

I need a "Channel Combiner" node

I'm currently working through Steve Wright's book, Digital Compositing for Film and Video. He pitches this book as "application agnostic" - meaning you should be able to apply the techniques to most any compositing packages: Shake, AE, Digital Fusion, Nuke, etc. Steve has moved on to using Nuke nowadays but back when this book came out he was using Shake. So, to best play along, I've been using Shake to follow the book. (I had been wanting a Shake refresher anyway, as I haven't played with it in a couple of years.)
So anyway, there's a section that talks about despilling, or more precisely, in the exercise I'm hung on, UNspilling. I have most of his nodes figured out, except for the end. He's basically suggesting that you break out the individual color channels into separate nodes, perform some operations, then re-assemble the RGB channels into one image again. This last part has me stumped!
What I need is a node that basically says, "take the Red channel from this image, take the Green channel from this image, and take the Blue channel from this image". I just cannot figure it out. I'm pretty certain all my prior nodes are fine. But this final channel summing node is alluding me. A simple diagram I mocked up might look like this: (Using Mr. Wright's supplied images here.)
I found this article that makes explicit mention of the magical unspill node tree. In fact, they've included a diagram of their tree. However, it's so small I can't make much out of it.
Hopefully someone can help me unravel the final piece to this puzzle. I've killed a lot of time trying different combinations of other nodes. All to no avail.
FWIW, here's a copy/paste of my current script as exists: (minus the actual 'greenscreen.tif' file that I'm using to work through the example.)
greenscreen = SFileIn("./greenscreen.1-48#.tif",
"Auto", 0, 0, "v1.1", "0", "");
blue = ColorX(greenscreen, b, b, b, a, z);
green = ColorX(greenscreen, g, g, g, a, z);
red = ColorX(greenscreen, r, r, r, a, z);
average_RB = Mix(red, blue, 1, 50, "rgba");
spillmap = ISub(green, average_RB, 1, 100);
blue2 = ColorX(spillmap, b, b, b, a, z);
green2 = ColorX(spillmap, g, g, g, a, z);
red2 = ColorX(spillmap, r, r, r, a, z);
blue_scale = Lookup(blue2, JSplineV(x,1,0@0,1@1), JSplineV(x,1,0@0,1@1),
JSplineV(x,1,0@0,[email protected]), JSplineV(x,1,0@0,1@1));
green_scale = Lookup(green2, JSplineV(x,1,0@0,1@1), JSplineV(x,1,0@0,[email protected]),
JSplineV(x,1,0@0,1@1), JSplineV(x,1,0@0,1@1));
red_scale = Lookup(red2, JSplineV(x,1,0@0,[email protected]), JSplineV(x,1,0@0,1@1),
JSplineV(x,1,0@0,1@1), JSplineV(x,1,0@0,1@1));
IAdd1 = IAdd(blue_scale, blue, 1, 100);
IAdd2 = IAdd(red_scale, red, 1, 100);
ISub3 = ISub(green, green_scale, 1, 100);
Ignore(blue_scale);
Ignore(red_scale);
Ignore(green_scale);
Hopefully what I'm looking for makes sense to someone out there.

Patrick,
I think the general theory is (something like) this:
The standard despill strategy is to build a green spill map, then subtract that from the green channel to remove the excess green from your shot. This certainly gets rid of some green from the shot, which is the goal. But since green is typically the brightest channel, this process can also darken the shot. Further, it can also introduce some hue shifts.
The unspill strategy is a similar but different strategy. Instead of subtracting the green you add red & blue. But this only works properly with the scaling node in between the individual channels. Since we're adding some red + blue, we don't want to pull out as much green as before. So we can't use our original spill map at "full strength" on the green channel, like we did with a despill process. The scale_RGB (lookup) node lets us adjust how much each channel contributes to the spillmap before it's final calculations. The addition of the RB channels only works because of the scaling node upstream. We'd scale green down and red/blue up. The exact proportions would depend on the specific shot at hand.
All in all, I think the despill vs. unspill processes are basically "Six Of One, A Half Dozen Of The Other". Different strategies to go at the same issue: removing spill.
But because of the scaling lookup node there's a little more adjustability with the unspill method.
Anyway, the specific scale_RGB values provided in the script-paste above are somewhat arbitrary. In the end, their real utility is twofold: you can use them to limit the green as you add red+blue - in the spillmap. Also they could be used to help "color" any fringing. If you have those tiny (annoying) edges on the key you might try eroding the matte to eliminate them. Not ideal. This scale_RGB node could, alternatively, be used to alter the colors of the fringe so that it mates up with it's background in a cleaner way. Color matching instead of matte eroding.
Hope that all makes sense. I'm still trying to get my head around most of this stuff...

Keying in 4:2:0?

I am looking to make a few short films, and am trying to come up with a workflow for the near future. I'll be using green screen, and I'd like to do the compositing in Shake.
I have two sources that assure me that my video (I only want to work in high def, and progressive if possible) needs to be 4:2:2, and I've been doing a ton of research on this assumption. It just occured to me that this premise should be verified.
Anyone with experience in this area? Assuming a competent set and lighting, can (for example) 720 30p 4:2:0 work? Can it partially work? Do you definitively need 4:2:2? Many thanks.

Okay, does anyone have any experience with 4:2:2, compressed to 4:2:0, then decompressed back into 4:2:2? I'm thinking about the new AVCHD cameras, and taking the feed from the HDMI output, and the differences in keying between capturing live footage and the decompressed stored footage.
Here's an excerpt from a Blackmagic rep:
"The HDMI output is just like the component outputs or SDI outputs from other cameras. It is unlike the data output of firewire which is merely the transfer of of bits and bytes from the DV or HDV tape to the computer drive. When you send a signal out of the HDMI port, it is an actual 4:2:2 uncompressed video signal in either YUV or RGB colour space. When you capture 'live' from the camera, it bypasses the HDV compression chip on the camera going straight out of the component as well as HDMI outputs of the camera, this is why you don't see a delay in the video unlike using firewire. This can be seen in the block diagram of the service manual I've sent you as well as from tests carried out by us when developing the product. Simply capture HDMI off the camera 'live' and then the same video off the tape and you will see the quality difference.
When the video is already recorded to tape, the output is still uncompressed video as the camera processes and upsizes the video in order to send out full resolution HD video. You do lose a bit of quality as some data is thrown away after going onto tape but it is still better than working in AVCHD natively."

Keylight Help

hey everyone,
i've been working on a green screen project recently that i was hoping to composite with shake. i've been toying with the program for a little while now and have figured out how to get some of the results i want, but i know i'm not really doing things correctly. below is a link to a clip i just rendered:
clip
as you can see in the clip, the characters have a harsh jagged line outlining their bodies. anyone know why this might be happening? i'm using the cfc keylight to replace the green (is this the one i should use) but i'm not sure there are some settings i could tweak (other than screen range). also, could it be my footage? the green background is not the most evenly lit...
can anyone help? i could post footage and my shake file if needed...
15" 1.33GHz PB Mac OS X (10.4.9) 2gb ram

The edge you're getting appears to be due to DV source material. Because of the lo-resolution of the image you posted, I couldn't get a great key, but here's an example:
And this is the script that I used: ShakeScript.
This is a brief explanation of the techniques I used:
You can find more detail about this on The Cow: Shake Tutorials.
does this help?
Patrick

After Effects and a dual processor

I just got a Dual 1.3Ghz Power logix processor and I wanted to know if Adobe after effects will take advantage of the second chip? I know the Final cut pro 5 will, and all the new apple compositing software(shake, motion, aswell as DVD studio) But will after effects get help from this or not?

If it helps, this page has benchmarks for G4 upgrades.
One of the benchmark options is "Adobe After Effects 6 Pro - Render 10 Frames".
http://eshop.macsales.com/benchmark/agp.cfm

Looking for a good tutorial or book for 3D composite

Hi, I do editing for 3D animation at work (simple kind) and working along with 2 other 3D modelers.
We recently came down to the conclusion that we need to composite to be able to render our animation.
However, none of us really know how to do 3D composite, including myself.
(I mean we know the simple composite using alpha channels and such... but not to the point to using z-depth or shadow maps... etc..).
I was looking around online and book store to find out if there is any good resources for us to learn. I do not have much luck of it, unfortunately.
I'd like to have our 3D modlers to know how to split to all different layers for a clean composite purpose.... (like for me to use in Shake ). From what I found out, higher end composite, you can split most of the gemoetries its own object IDs, and shadow map/layers, lighting layers... (even they render separetely, it do cast shadow as other objects surrounds it, or refection..) and then composite in one scene.
I believe we create pretty good animation when we rendered them all together in one scene, and now we are up to the point that there are too many geometeries and render farm computers can't handle to render (and they are not lower end compters but they crash when we try to render with not enough memories).
I'm not really looking for having real footage as background and 3D infront .. that kind of composite...
If there is anyone can direct me to a right book? or online website to learn more of this stuff for all of us, I'll be really appriciate it.
Thank you for your time...

These might get you started as well:
http://www.computerarts.co.uk/tutorials/3d_and__animation/boulderdash
http://www.3drender.com/light/compositing/index.html
http://www.3drender.com/jbirn/ea/Ant.html
http://www.ethereal3d.com/Tutorials/Compositing/Compositing.html

Output to .avi from Shake? I'm very new to Shake and Apple.

Hi, I have just made the switch from PC to Mac. I've got a mac mini and bought Shake solely to use the smoothcam feature to clean up the camera jitter from my videos, especially the video I took of my buddy's wedding. I got suckered into being the videographer.
I imported the original .avi files into Shake and seem to have learned intuitively and from the online "tour of shake 4.1" how to use the smoothcam node, but now how can I output or render the "corrected" video into a .avi or .mov or any format straight through shake.
I know I should probably have final cut pro but I don't have the money just yet to buy it, at the moment I've just got shake and need to use shake to output these files, if that's possible.
Any help will be greatly appreciated. Thanks!
-Pete
Mac Mini Mac OS X (10.4.8) 1.83 Intel Core Duo, 2 gb 667 MHz DDR2 SDRAM

Peter...
Patrick's FAR from being condescending. Shake isn't for the faint of heart. It's an honest-to-God $3000 compositing program used by the likes of ILM. It was designed for UNIX-heads who don't even use the interface!!
Things as simple as File Ins and File Outs aren't easy and aren't 'Mac-like' -- it will WILL take some reading up on. Doing the tutorials even the first one will give you an overview of the program and how to handle ins and outs.
Now... I have to ask why are you using AVIs?????? What possessed you to capture to avi? How did you get the files on your computer? How will you get them off? Do you have any plans for that? Going to iMovie are you? You know what kind of movie format you need in iMovie?
Before you get too far in over your head on your mac mini... I'd suggest also reading up on Shake in the manual and doing some of the tutorials. Won't take you but an afternoon tops to get thru two or three of them.
Will pay off in the long run and maybe you'll even answer a few questions here so Patrick can help us with really tough questions re shake.
Thanks,
CaptM

Shake - What Does it Do?

Sorry folks, really basic nubie question. I use FCP, Motion, etc. for business presentations (w/Keynote) and for editing home SD DV movies (usual holiday stuff etc.).
The price drop of Shake makes it very attractive, but in spite of reading as much as I can on Apple's site, I'm still not sure what this might allow me to do on top of what FCP and (in particular) Motion gives me.
Could someone give me a simple list (in words I might understand) of what Shake can enable which is outside of the current aps. I have?
Many thanks for answering what is probably a daft question.
David

BTW -- I meant siplified answer... not SIMPLE answer.
But --
I'm no shake historian, but I think it's fair to say Apple bought this compositing software from programmers and software engineers at Sony Imageworks... or thru Nothing Real the company who developed it.
It MIGHT be unfair of me to say, but the price point might have been way up there for a few reasons... Apple realized at the time, Shake would be a fairly small market (dominant in the marked it needed to be in, but still small) when compared to FCP or iMovie. So, with the inclusion of maintenance and support packages for this program and the small marked lock apple's price point made this a very successful program for Apple.
Now, since they don't have to maintain a development team for THIS version of Shake I think Apple did a brilliant move by putting it at a reachable pricepoint for people like you who would like it maybe for these "other" things it can do.
Listen, Shake is STILL not a dumb program. It is still as powerful as it was at $3000. Smooth Cam, as good as it is is not a end all cure all one button thing.
As Patrick says, Shake gives you Apple at it's core... from the file system to the terminal line command structure, Shake can be very scary. But now it is at least affordable to buy it even if you are only going to use it for just 4 things.
When you get home, check out my smooth cam tutorial. You'll see a difference alright.
CaptM

So I've got Shake 4.1, now what?

Firstly, with the new price for Shake 4.1, and likely many more users coming on board with that product (even though development has stopped for it), a NEW discussion forum for Shake would probably be in order at this time. I've noticed a distinct absence of a forum for Shake, with Apple suggesting outside forums instead. Maybe they could support the product (and promote it) by putting up a forum here.
I've been using Lightwave 8.5 and tinkering with the Mult-pass render outputs via LW Buffer Export. I seem to be able to output Raw RGB, diffuse shading, speclar shading passes OK with their alpha channels intact. I saved them out as TIFF 32's and used Quicktime on a Mac to assemble them into a *.mov file, which I realize Combustion and Shake don't require since they take care of assembling image sequences.
My question is: are there any Shake users out there using LW? If so, how do I assemble a script/node sequence to get me compositing my output? How do I combine these various passes (overlay, screen, multiply, ???). Anyone have a script they want to share as an illustration of what works for you?
I have seen a reference on the web about how Lightwave and Maya can use the various passes and overlay modes, but it is Greek to me since I don't have enough background knowledge to connect the dots.
Thanks for any help.

Hey Conrad,
If you head over to the Shake section of fxShare (formerly HighEnd2D), you will find the Shake listserv which is popular with many seasoned users. There is also a discussion board on that same site. I would also recommend the Creative Cow Shake forum for beginner questions.
As for comping your multi-pass renders, there's no real trick to it: Just add a FileIn for each of your passes and plug them into a MultiLayer node and pick the appropriate blend modes (Screen, Add, etc), much as you would do in AE or Motion. You can perform operations on each pass by inserting nodes between the FileIns and the MultiLayer. For example, you might want to blur an ambient occlusion pass by inserting a Gaussian Blur node, or do an erode on a specular pass to shrink down your highlights.
Good luck with your projects!

Compositing - Channel Mixer Help

I've been using AE now for a few years, (since v5.5) and mostly use it for motion graphics. Using CS3 now. But right now, I'm beginning to work through Steve Wright's book, <a href="http://www.amazon.com/Digital-Compositing-Film-Video-Second/dp/024080760X">Digital Compositing for Film and Video</a> to focus more on true compositing.
The author's aim is to keep the lessons application-independent and present concepts in a way that would be applicable to most software packages. (However, considering the author's frequent references to "nodes" and his well-known status as a Shake user & <a href="http://movielibrary.lynda.com/html/modPage.asp?ID=408">Shake instructor</a>, it's apparent that using Shake, while reading this book, would lead to the least bumps in the road, when attempting to follow along.)
But I'm not using Shake, I'm using AE and have encountered a small bump in the road. Regarding luma keys he mentions how luma values are represented in the individual colors R,G,B. To cut to the chase, he says, "One standard equation that mixes the right proportions of RGB values to create a luminance image on a color monitor is:
Luminance = 0.30R + 0.59G + 0.11B"
Great. But I can't figure exactly how to mix the RGB values with the above proportions in AE. It's quite easy & straight-forward in Photoshop, using the Channel Mixer. <a href="http://www.geocities.com/kevincbrock/channel_mixer.png">Example here</a>. But AE's Channel Mixer does not seem to work quite the same way as it's counterpart in PS. There are values there, for instance, "Red-Red", but they seem to run in values from -200 to 200, not percentages, like PS. So my question is, how do I achieve the same channel mixing results in AE that I can in PS?
I'll add this: I was able to achieve the desired result in AE, but by using a round-a-bout sort of tactic. Instead of using the "Channel Mixer", I applied the "Set Channels" effect to my sample shot. By changing the "Set Red to Source 1's LUMINANCE", then doing the same for Green and Blue, setting them all to LUMINANCE, the resulting image is identical to the sample shot that was tweaked in Photoshop. Again, it worked, but I'd like to know how to change the proportions of RGB to other values than those represented in the formula above.
Hope this all makes sense.
Oh, and while I'm here.....I'll throw this in: In AE, when you apply the "Curves" effect, can you input precise values for input / output. Again, this is simple in Photoshop, but unless I don't have some display items turned on in the Curves editor in AE, I don't see a way to enter precise values. Is this possible?
Thanks in advance for any input.
EDIT: for some reason, the links I've posted aren't showing up properly. So if your'e interested in following any of them you'll have to copy/paste on your own. Don't know why......

>Great. But I can't figure exactly how to mix the RGB values with the
>above proportions in AE.
You could use expressions... You create sliders for each input, then feed their output to the actual effects. Something like
//----begin expression
linear(value,0,100,-200,200)
//----end expression
should do in most cases. Still, be careful. Not everything written in that book directly applies to AE. It does not figure in any specifics of color management nor different Gammas which could massively skew results because the source footage will already be pre-adjusted and the comp will add another level of adjustments.
>Oh, and while I'm here.....I'll throw this in: In AE, when you apply >the "Curves" effect, can you input precise values for input / output.
Nope. AE's Curve effect will adapt to the project bit depth as a lot of other effects, presenting you with the problem of which values to actually use. This would only make sense if the effect itself would be independent from AE and process in float all the time and only the inputs were presented as different normalized ranges. There was/ should have been an alternative Curves effect from Frischluft, but at this point development has reached a dead stop, so it's doubtful it will ever be unleashed upon the world.
>Don't know why......
HTML-Code functionality had to be disabled thanks to spammers. :-|
Mylenium

Stereoscopic 3dspace compositing in SHAKE 4.1

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