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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Chromatic Aberration correction and REDRAW

I don't know if the Red SDK is going to provide access to the original data prior to demosaic. But there is a specific reason to permit an external demosaic. I think that was what Andrew was getting at in his original post, but just to clarify:

http://www.imatest.com/docs/sfr_chromatic.html

... Demosaicing algorithms can be very mathematically sophisticated, but all of them can perform poorly in the presence of lateral CA, where detail is shifted from its expected location.

Demosaicing explains the shifted edges shown in the above example: http://www.imatest.com/docs/sfr_chromatic.html#demosaicing

Lateral CA cannot be reliably corrected after demosaicing, but it can be corrected to near-perfection prior to demosaicing.
 
Looks like CA correction is working in AE perfect!

I took Jims race track short REDRAW and converted on my MacPro in to the 16 bit TIF

AE will do CA correction on the TIF since it considers it, I think, as a one of the RAW formats.
I fetch this from the networked drive from Mac to PC running AE on windows XP.

As I remember the race track clip was shot with 300 mm RED Zoom that has very minimal CA
Now if we can take out CA from 300 mm zoom imagine what we can do with CA from 8 14 or 28 mm!!

The pictures are 200% 4K crop so each pixel is 2 pixels in here.
We see CA of 2 pixels so it is one pixel on original 4K footage.
1 pixel fringing in extreme left upper corner is very low CA, no wonder we have 300 mm zoom here.

During my past tests, I have seen 2 pixel CA 4K footage equivalent on Master Primes 16mm or 3 pixel on 8R Ultra Prime, in the corner of the frame
 
MikeCurtis said:
I made my living with After Effects for 6-8 years. My favorite app/UI combo of all time.
Click to expand...


Im with you, AE is without a doubt bank for buck the best all round compositor on the planet.
Shake was getting there, but has been slowed to a stop and lost in the bowes of Apple.

MOTION's next issue in 09 is going to really rock the world of composting, this is the one I'm really waiting for.
It's real time optical flow effects, 3d landscape and real time work flow is amazing already, so much so that my Inferno operator now does half my jobs in it on his lappy!!! because it's faster than his latest INFERNO in some areas.
Even though he loves his INFERNO he still thinks that out of all of them, When MOTION decides to get really serious in it's next release, I doubt the big Boxes will be very happy at all.
 
Andrew said:
As I remember the race track clip was shot with 300 mm RED Zoom that has very minimal CA
Now if we can take out CA from 300 mm zoom imagine what we can do with CA from 8 14 or 28 mm!!
Click to expand...

This was the 4K race car clip and not the 2K slo-mo clip, correct?

I think this clip was shot with the 18-50mm RED zoom.
 
Yes, it is 4K clip for sure.
If it is the 18-50 then I have to say it is very low CA for this lens.
Remember the crops are 200% so I see two pixels CA here so on the original 4K clip it is only one pixel of CA.
Wonder if at very first frame of this clip the zoom was on 50 or on 18mm?
The cutout is from very first frame. Can't be at 18mm no way.
 
Back in 2000 I got an "Expert" certification with Adobe and thought it is a 100% all around winner.
In fact I have started a broadcast design boutique in Montreal based on the adobe Premiere, AE, Photoshop and Digisuit boards.
It was great !, cutting in Premiere and opening the project in AE for more advanced stuff.
I started be disappointed few years latter, when besides some support in openGl, I could not see any advancement.
Don't take me wrong, I still appreciate it a great deal, and I am more then happy to use it, but it just doesn't go in pair with the hardware anymore.
Wish they did not slow down so much in the hardware software integration...
 
Is the CA correction in the newest AE, or is it a third party plugin? I've been correcting for CA for a LONG time actually, but I've been doing it really manually man... I'd love for an advanced plug in to do it for me.

By the the way, this is lateral CA only... can't correct longitudinal in post :( Only a good lens will do that for you.
 
I convert from REDRAW on old Mac and bring it to my 2.8 GHz dual core with 8700 NVIDIA.
I had to do some tweaking of OpenGL advanced feature menu for dual processor and dual card so Premiere and AE would recognize dual NVIDIA and dual Processor.
Then in the option menu I can see that supported OpenGL reflect all advanced option. I had to call Adobe support once to direct me for optimization of my setup, the rest I figured out myself.
AE plays rendered to the RAM 2K clips in real time and rendering of 16 bit TIF sequence it takes about .5 sec per frame. It is processing 2 frame simultaneously so you see it incrementing frame count by 2 every second.
Don't need anything more for now.

AE has full support for dual NVIDIA 8700 and dual processor.
8700 is listed on Adobe web as a fully supported card for AE.

Get the latest version of AE and remember to enable verbose for AfterFX.exe on the NVIDIA card advanced setup menu and dual processor use in AE.
Use old Mac with ATI X 1900 to convert REDRAW to whatever you need, Mac is more stable with REDCINE, than just share the same RAID over the LAN with the PC XP machines for the rest of the footage processing.

It is that simple.
 
Cardmaverick,

It is build in option in AE and Bridge.
You have to pre-process all the frames it in Bridge first.
Does it automatically on the whole folder.
You can do pre-processing with few more things as well.

What do you mean only lateral? and not longitudinal?
 
Not sure I understand. Redcode Raw is Redcode Raw already so there's no need to convert it....??
 
Deanan said:
Not sure I understand. Redcode Raw is Redcode Raw already so there's no need to convert it....??
Click to expand...

I think Reactor refers to the ability to work natively, although no workflow is specified, without the need for proxies?
 
Andrew said:
Cardmaverick,

It is build in option in AE and Bridge.
You have to pre-process all the frames it in Bridge first.
Does it automatically on the whole folder.
You can do pre-processing with few more things as well.

What do you mean only lateral? and not longitudinal?
Click to expand...

Thanks, are you using the latest AE? I'm on 7.0 still....

Lateral CA is the color fringing everyone hates so much, but theres another form of CA called longitudinal, which is when you have a channel that is literally out of focus, so even if you line up the images, you can still have sharpness issues and a funny looking "color bloom", as longitudinal CA also exhibits slightly different fields of view as well, depending on where each channel is physically focused. The green channel seems to always be right on the sensor, but red and blue focus can sometimes fall ahead of or behind the sensor, thus the softness issues and slightly differing fields of view. Stopping down the lens will correct the focus issues, but you still end up having slightly different fields of view to deal with.
 
Yes, he means native support for RED RAW.
For now if you want to work with RED RAW you have to convert it to 16 bit TIF if you want to work with 16 bit linear or DPX if you like 10 bit log.

That is fine since if I have any problem with AE or Premiere I can call Adobe for support since I work on standard TIFs not RED RAW instead of waiting for Luki to answer my post. Hey! Luki when REDCINE will support NVIDIA 8700? I know I know Assimilate is just helping RED with REDCINE, sorry.

Adobe is supporting almost all what is out there in the native format so I am preaty confident that as soon as RED RAW will freeze for a month or two in terms of constant upgrades, they will put native support in AE, no doubt about it.

I have noticed that nomenclature mostly used out there is for TIF as a clip consisting of multiple frames, TIFF with two FFs is referred in turn to one picture frame.

Also 10 bit log DPX is as good as 12 bit linear if you do not start processing the RAW.

Once you start processing the RAW then you will see right away your data stretched up and down and before you realise it is all over these 16 bits, also most transforms and grading seems to me working better with linear or maybe it is my engineering mind. Anyway linear is easier to convert in terms of programming.

Someone commented that it is cleaner to work with clips as a file rather than the hundreds of frames in the folder.

I thought the same for the moment.

After working with TIFs I started to like ability to look inside the clip and see all the frames there.

Right away you see, if frame was skipped or something is wrong with the frame, (will have different size and time of creation will give you some clues as well.)

And dropping the folder (processing/manipulating) full of frames or just a file containing the clip is just as easy and the same.

If something will crash I can look in the clip folder and see where it stopped, what actually happened and resume from this very frame. Corrupted clip file in exchange you can just scrap and start all over again. Since RED is so new and constantly getting better seeing more and have ability to debug what has happened yourself, without calling for support is for time being very desirable feature.
 
Cardmaverick said:
Thanks, are you using the latest AE? I'm on 7.0 still....

Lateral CA is the color fringing everyone hates so much, but theres another form of CA called longitudinal, which is when you have a channel that is literally out of focus, so even if you line up the images, you can still have sharpness issues and a funny looking "color bloom", as longitudinal CA also exhibits slightly different fields of view as well, depending on where each channel is physically focused. The green channel seems to always be right on the sensor, but red and blue focus can sometimes fall ahead of or behind the sensor, thus the softness issues and slightly differing fields of view. Stopping down the lens will correct the focus issues, but you still end up having slightly different fields of view to deal with.
Click to expand...

Thanks for explanation. I didn't see much of color bloom, maybe because I never tested lenses designed to work with prism or didn't check on low end lenses yet.
All the time I tested some lenses I see sharp highly focused 3 overlapping pictures of RG and B color.
Especially pronounced on Zeiss light weight zoom. Very sharp lens in each color but more than 3 pixels of CA. ( When I refer to pixels I always use 4K format as a reference)
See my test here:
http://www.reduser.net/forum/showthread.php?p=102829#post102829

I work with 2.1.19 Bridge and AE 8.0 Professional
 
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