Looking for constructive input on this workflow. I am grading in Resolve, composites to be created in AfterEffects by a compositor. Souce will be a mix .R3D RAW and Arri Log C. Caviats are this job will be done in AfterEffects CS5, so no native .R3D support.
I wish to send plates to the compositor via the Resolve using a flat pass (no adjustment) in the LOG gamma space to DPX file sequences and get the same thing back from the compositor.
Compositor would ideally work with a temporarty LUT that approximated a full range image and to be able to render out rough comps for directors approval. Again I am looking to get from the compositor a 10 bit LOG image where I still have full range.
Question 1: What is the easiest way to work with a LUT in this way? Adjiustment layer that gets turned off for the final render back to me?
Compositor is concerned that the nature of these comps, while photo realistic, involve light sources to be added in the comp and various transfer modes used (add, screen, etc...) to accomplish the effect and that working with a LUT will make this difficult.
Question 2: Is the compositors concerns valid or is there a technical workflow solution in AfterEffects that will alow him to see things as he woudl like and allow me to get what I need.
I know this is possible with other composite applications like Nuke but I am looking for assistance on this issue from the AfterEffects gurus here.
Goal is to have an interactive color session with clients post composite where we have a large amount of lattitude to set and refine looks.
Thanks for your thoughtful responses.