just incase it's useful: the colour space you'll be using for HD video (ie. inside premiere, after effects, fcp) will be Rec.709. those programs often don't specify such overtly, and some even convert to RGB or SRGB when you export, or don't attach colour space information at all. when you export/re-import into photoshop, it will convert to RGB/sRGB if it doesn't have any info, or ask if you want to anyway.
the sRGB colour space (standard for stills/scans/photoshop) is much larger than Rec.709, meaning you can do things to images that look great, but which will be compressed into the Rec.709 colour space when they go back into an editing program. that can alter colour throughout the image - even things you didn't think you'd really changed, as it's all relative. you should find you can get the same result as original frames by exporting with either Rec.709 or nothing at all if you have no option, editing inside photoshop with that same colour space, and then saving with Rec. 709 too. edwin > Date: Sat, 25 May 2013 16:35:00 -0700 > To: frameworks@jonasmekasfilms.com > From: aa...@digitalartsguild.com > Subject: Re: [Frameworks] de-dusting scanned film footage > > It is absolutely necessary to have full control > over color spaces and codecs if you wish to move > digital imagees back and forth between applications. > > What is the format/codec of the source video? > What is the format/codec of the FCP editing timeline? > To what format/codec are you exporting the single frames? > What is the current color space in FCP? > What is the current color space in Photoshop? > How is Photoshop interpreting the incoming single > frames? Is the embedded profile being applied? > > The main bugaboo around this pipeline is that if > your video footage is YCbCr, then if you save out > an individual frame, it's likely to convert to a > different color space such as sRGB. > > Frankly, my advice would be to do the job in > After Effects. It's very easy to touch up and > rotoscope footage. Just make sure to set the > color settings to match what you've got in FCP. > > Regards, > > Aaron > > > > > > At 5/25/2013, you wrote: > >Dear frameworkers, I have another question. This > >one is specific to de-dusting scanned film > >footage (e.g. S-8mm) in a digital workflow (e.g. > >final cut pro). Sometimes dust, hair and > >scratches are detrimental to the visual > >impression one tries to achieve. I have tried in > >the past to remove hair or other dust manually. > >This is, extracting the photogram from FCP, > >importing it into Photoshop, cleaning the > >photogram and re-importing that frame into the > >slot in the timeline where it was extracted > >from. This works in theory but in practice I > >sometmes ended up with that one photogram having > >a visible colour mismatch. I have not found a > >way to match the colour space of FCP and > >Photoshop, but must admit I haven't tried hard > >enough. I recently fiddled with another method. > >Importing a whole clip into photoshop. Photoshop > >CS5 extended can handle time-based images. Then > >it's pretty straightforward: locate the > >photogram and clean it in the image window as > >one would with a normal photograph. Then > >re-export the clip through Export -> Render > >Video. I have played a bit with it but never > >really tried it for a project. Does anyone have > >experience with this, or an even better method > >to share? Thanks, Best, Marco -- Sent from my > >computer marco poloni usedomer strasse 8 d > >13355 berlin gsm de +49.1633.6294080 gsm ch > >+41.78.6322028 skype marcopoloni > >_______________________________________________ > >FrameWorks mailing list > >FrameWorks@jonasmekasfilms.com > >https://mailman-mail5.webfaction.com/listinfo/frameworks > > ------------------------------------------- > > Aaron F. Ross > Digital Arts Guild > > _______________________________________________ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks
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