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Uncompressed sequence render from Avid
This is a bit of a repeat of a previous topic, but I really need a resolution to it and I cannot find the answer anywhere, so I’ll try be more specific:
We’re looking for the correct Uncompressed codec from Avid which will come into FCP without a colour shift due to the RGB-YUV conversion. With most of the codecs we’ve already tried the footage comes in a deal lighter with a slight colour shift.
I understand that 10-bit DNxHD comes in fine, which we’ll leave for a last resort, what we need is uncompressed as the original footage is HDV and I really do not want to re-compress that.
I could use Automatic Duck if the original captured mxf files from Avid interprets the HDV codec the same way as FCP, is this correct? Or will the colour shift still occur regardless of codec.
Thanks as always
J
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7 Replies
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Hi Jay,
After seven years making video in a computer, I’m still don’t understand the Gamma mess.
If you are looking for an Uncompress codec that doesn’t makes strange things when changing of NLE or platforms, you should have a look to “Sheer” (https://www.bitjazz.com). The best codec of the world.
Cheers,
rafael -
I’ve looked into this too. If going with a file based workflow I’ve found the sheer codec to be the best too. A better solution we came up with was playing out of one system to another via HD-SDI. And that happens in realtime.
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FCP and Avid Technical Support
Air Post Production
Shoreditch – London -
Thanks guys, the Avid is on another site, it’s ultimately going to Grading, which is RGB native so after some tests I found can use the Compression ‘None’ setting, use an EDL to cut up the file in Color and then reassemble in FCP using Uncompressed 10-bit, that should do me for now..otherwise this codec looks like an option in the future.
As far as I can see, the Automatic Duck is great for sequence translation but doesn’t solve any of the level shifts in the footage.
Do you happen to know if the MXF file was captured HDV whether the shift would still happen after the MXF translation, or is the fact that it comes from Avid, regardless of codec that causes the shift?
J
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[Jay Moffat] “the Avid is on another site, it’s ultimately going to Grading, which is RGB native so after some tests I found can use the Compression ‘None’ setting, use an EDL to cut up the file in Color and then reassemble in FCP using Uncompressed 10-bit,”
Hi jay,
Sorry but I can not follow you. What format/codec do you intend to bring to Color?
rafael -
Ideally uncompressed 10-bit into Color, however I did a test using a render from the Avid using Compression ‘None’, it worked fine as far as my small test goes. I rendered out as Uncompressed 10-bit from Apple Color and reassembled in FCP, which worked fine. So basically bypassing FCP and went direct to Apple Color.
My overall concern is if I needed to bring a sequence or render from Avid for whatever reason, straight into FCP, what codec would produce a clean transition? All my tests on that score have unsuccessful. However I am waiting for a sample clip rendered in all the Avid Codecs to look at.
Re-rendering the clips in Compressor before going into FCP produced even worse results, where the footage became a great deal lighter and washed out compared to the raw capture.
J
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You should try the Black Magic or AJA codecs (free). They are cross-platform and supported by Color.
rafael -
An idea for sure, I use Kona though, so I’m not sure they will be compatible with my system? Will report back atthe end of the week to let you all know the results of tests done with the different samples I hope to receive very soon.
J
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