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Proper Output for deliveries
Hello,
I wanted to pick people’s brains about delivery options in the render tab.
Usually, Auto is the same as full data range, provided the source in the media pool is RGB (Alexa and Canon) correct? Is Red and Sony the same way, recording to give the most amount of data? I assume so.
If I’m exporting for the video to be conformed with Avid, should I keep auto/full range data? Or is legal video the best option? I would guess that if they are using the YUV option for a project in Avid, then it would be legal scaled. They could probably just change it though on the import into the project, say if I exported an Auto/Full Range Data MXF, then their import settings should be set to YUV anyway and it would scale the video. Seems like to do it once out of Resolve would give the best results though, and not have Avid make the change.
How about conforming in Final Cut? I would again, assume that rendering out a normally scaled legal video quicktime would be best.
I realize that you need to ask your client, and they need to know what they want, but that’s almost never the case. Oftentimes videos are just going to the web, but I color at Rec709 for legal broadcast standard all the same, and want to deliver as such.
I would really love to hear about other people’s experiences, and what they do to deliver to the client the proper video that they need.
Thanks!
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3 Replies
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“Sony” covers a lot of territory, so not sure what you might be referring to.
There is a certain amount of ambiguity among some codecs, so be careful with your assumptions. ProRes 4444, for example can be either RGB or Y’CbCr, and isn’t flagged in any way to delineate. Anyone involved in a multi-way conversation between FCP, Avid, Resolve, and VFX applications will find out quick that ‘full-range’ and ‘legal’ are interpreted in different ways.
Simply, is the requirement for RGB 0-1023 or Y’CbCr 709 64-940? That is the difference.
As far as ‘deliverables’ go… I have a binder full of them. American voters might get the jibe.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Should have been more clear with Sony-F3, or 700, the like.
It’s just a little confusing with legal broadcast range and full data. Should I be outputting for people legal broadcast outputs when they are going to bring that into Final Cut, put their graphics and conform, and output? Or should I send them full data range?
I don’t know how the output for Final Cut works exactly, and wondering your experience with that.
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[William Edwards] “Should I be outputting for people legal broadcast outputs when they are going to bring that into Final Cut, “
FCP is a bit dumb about that — it is expecting Y’CbCr for most formats, and in Rec709 that would be the linear legal video setting. Full scale is for RGB formats — dpx and so on, which FCP has trouble with. ProRes 4444 confuses the issue because it can contain either RGB or Y’CbCr and there is no flag that would clue in the application as to scaling.
AVID does allow for deliberately scaling values on input.
These errors are exceptionally obvious for online operators looking at outboard scopes, but that would be extremely rare for passing around clips for VFX, etc. You might get a comment back like “seems a bit dark”… or conversely “washed out”… if you hear that…. panic.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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