The first step is to set your project settings:Ĭlick OK. Thus, we need to tell After Effects to non-destructively display all elements and footage in the same colour space without altering the source footage. There is one bigger problem with converting LogC to rec709: You will loose so much colour information that it will defeat the purpose of shooting LogC in the first place. There is one problem with converting footage: you will lose quality. You can read more about ICC here: We will be using a generic ICC profile since a specific LogC profile must be purchased at the time of writing. ICC profiles are the colour profiles your computer uses to ensure your screen is calibrated and ensures the printer’s colors match the screen. However, After Effects does not support LUT’s (except as an effect), and thus ICC colour profiles will be used. LUT’s are often used in post production to tell the software HOW to view or convert footage so that they are visually compatible. Because our TV’s at home use rec709 colour space, and our eyes recognize this as a “close-to-real-life” representation of color, we must ensure we view our footage in the same colour space before we can start compositing. Both need to be the same before you can composite. The source footage from the Alexa will be LogC and the image you are compositing onto the screen will either have a sRGB or rec709 colour space. Let’s say you have a shot where you need to composite an image onto a computer screen that was left black during the shoot. The most common method of matching source footage generated in different colour space is by using a LUT (Look up table). You can find great information about these colour spaces here: It is important that you are familiar with LogC and rec709 colour space. This article proposes an easy way to work with LogC footage often generated by the Arri Alexa inside After Effects.
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