Hello. Please, is it possible to add a setting with a checkmark REC709-A to After Effects, by analogy as implemented by DaVinci Resolve for MacOs? So that the color is the same in After Effects and MacOS environment. I work with ProRes 422, 422HQ. And the color difference after rendering is driving me crazy! I really hope this problem can be solved.
Could you elaborate on what you meant? I have m1pro. I've tried two options, workarounds:
1. Apple XDR Display monitor profile. In After Effects, the setting is project settings - color - working Color space - HD709-A. And the interpretation of each video file is Preserve RGB or HD709-A profile setting. I end up with the same color in the output file and macOS, QuickTime, iphone, safari and etc environment. But if I use this method, I run into various difficulties. For example, if I use the content aware fill tool, the patches are created in some other gamut even though they are also interpreted in HD709-A. Also, when closing and opening an AE project, the installation of file interpretation constantly flies, and you have to interpret all the files again ... (
2. Set monitor profile to factory calibrated sRGB or Rec709. In After Effects, working Color space is None. If you use this method, then the situation becomes better, there are no difficulties in the workflow. But the output color, although similar, is different from what I see in AE, QT, VLC. And in VLC and QT it is very similar.
And in DavinciResolve there is a Rec709-A checkbox, and thanks to it, I lose my difficulties. The output is what I saw when editing frames.
I would be glad if there is already a solution, they will tell me how to organize a simple workflow.
You are not using any actual CM if your monitor isn't properly calibrated and proof preview used. Then all the arbitrary profile switching doesn't mean much. The CAF thing is a bug as far as I know.
I'm sorry, but I didn't understand you. Or I misunderstand. The latest apple laptops (m1pro 14, 16 and above) have factory, hardware calibration srgb, rec709. It does not end only with the appointment of a profile, it is tied to the hardware and software of the monitor. For example, after assigning profiles, the ability to change the brightness of the monitor disappears. In reviews and tests, it is said that the factory calibration of the modes is true. Of course, you can once again independently calibrate with a spectrophotometer, but this will give a minimum percentage of compliance with the standard. (again, if the calibration apparatus itself is calibrated).
I make content for the web, my room is not in ideal conditions for working with color. I know that in the end, my content will be viewed on a different device and it will be different from what I saw. But the fact that in my system the input file and the output file are distinguishable by color is terribly annoying. And I'm looking for a solution to this situation. It's just that Davinci Resolve has a simple way to solve this problem.
This is a useless reply. The individual is asking for a gamma tag option in order to allow quick time to properly display rec709 information. Resolve has found a way to properly tag quick time exports to display correctly on Mac displays. Adobe should also follow suit.
If you understood adobes color management system you would realize it automatically displays at rec709 2.4 and only the beta allows the option of now managing display options in a meaningful way. With all that said, Media encoder still fails to properly tag all exports that are QuickTime or h264.
All of us Mac people are on P3 or HDR displays these days and all the sRGB don't understand the issues here. Thankfully AE can help, and this is what I do for all my broadcast and motion graphics projects that I render out of AE.
First, in your Project Settings, go to Color and make sure the Color Engine is Adobe color managed. Make sure Working Color Space is Rec.709 Gamma 2.4. Checkboxes underneath should be unchecked except for Compensate for scene-referred profiles.
Then when you're working in your composition, go to View > and turn on Use Display Color Management. Then go back to the View menu and go to Simulate Output and select Interet Standard sRGB. Then from there on in your comp, everything you see in your viewer will look idential to what gets rendered out.
Adobe's viewers in the app are meant to be on sRGB displays. This workaround presents the colors/contrast to you on your better than sRGB display in a correct way. After Effects has a fix, Premiere does not.
Could you elaborate on how you were able to load the XDR Display / rec709-A profile into After Effects? I don't see it as an option so I'm assuming you found where they are and coppied them into the right folder.
Would be great if Adobe did the same as Resolve and added a rec709-A equivilent workaround. The other suggestions in this thread don't really address the issue.
In case anyone finds this through Google like I did, after some searching I found that the HD 709-A.icc profile Apple used to ship works nearly identically to Davinci Resolve's implimentation. For me, it didn't appear in the After Effects working space dropdown, but was able to find it :
Macintosh HD > System > Library > CoreServices > Resources > Profiles > HD 709-A.icc
Copy this to :
Macintosh HD > Library > Colorsync > Profiles
Restart After Effects.
After going through every single profile available in AE, this is the only one that worked. It's now easy to round trip between Resolve ( using rec709-A ), After Effects, and Final Cut.
A possible workaround to the rotobrush gamma shift when using 709-A as the project working space is to use something else like srgb or 709 2.4 but use the color Profile Converter effect on the comp's top layer with 709-A. Using this method works even works well along side the OCIO plugin for ACES transforms.
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