Apple Pro Res 422 Color Change

[Shane Ross]

Where are you judging this color change? External broadcast monitor connected to the computer via a capture card? Or by using Quicktime and your computer monitor?

And export PR422 from what codec?

#49 – Quicktime movie lighter than what I see in FCP.

Shane’s Stock Answer #49 – Why is the Quicktime Movie I made much lighter than what I see in my timeline in FCP?

Because it is designed to be bright enough to be seen on most monitors, some that might be too dark. But, if you want to see the same image you see in your FCP timeline, just open Quicktime, and in the Quicktime Player’s preferences window under the General tab you can choose to Enable Final Cut Studio color compatibility.

Shane

GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def

[Martín Domínguez]

Sorry I didn’t give any details. We recorded it in a Canon 7D, in H.264, than for editing we coded it in APR422, and exported clips in the same 422 for After Effects (and here lies the rub), but thing is shadows go darker, color saturates slightly.

[Shane Ross]

Again, HOW are you judging this quality? The computer monitor is not the place to judge this.

Shane

GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def

[Andy George]

I agree with Shane you need a broadcast monitor to evaluate such things.
That aside, After effects may not be interpreting your PR422 material correctly
depending upon the version.

Here are some important notes about PR422/AE in Todd Kopriva’s blog-

https://blogs.adobe.com/toddkopriva/2009/03/prores-422-colors-in-after-eff.html
https://blogs.adobe.com/toddkopriva/2009/12/prores-4444-colors-and-gamma-s.html
https://blogs.adobe.com/toddkopriva/2010/05/prores-4444-and-prores-422-in.html

-Andy George
Senior Editor
http://www.chiselindustries.com

[Mark Luigjes]

You could try ‘Enable chroma filtering for 4:4:4 sources when exporting via QuickTime or FCP. Even though your source might not be 4:4:4, I found it can be a solution for a (too) dark export.

As for the monitoring, when one of the exports looks different in comparison to all the others, it doesn’t what kind of monitor you’re using. You detect a change relative to others.
A broadcast monitor is always better though.

[Rafael Amador]

[mark luigjes] “You could try ‘Enable chroma filtering for 4:4:4 sources when exporting via QuickTime or FCP. Even though your source might not be 4:4:4, I found it can be a solution for a (too) dark export.”
That works when converting RGB stuff to Prores, and nowhere is explained how it works.
For my self, the very function name (chroma filtering for RGB source) makes no sense in a 422 YUV codec.

That option was before only in Prores 444; where it should be.
rafael

http://www.nagavideo.com

[Mark Luigjes]

Alright, thanks. Very strange then that is does have an effect coming from uncompressed 8-bit 422 (with gamma correction off).

[Rafael Amador]

Hi Mark,
With Snow Leopard (Gamma 2.2) and the last FC/QT the gamma issue has been even further messes out.
Now I find Prores clips which “Final Cut Color Compatibility works. In other Prores stuff its doesn’t.
Having an external adjustable monitor is the only way to know where you are. Fallowing any computer monitor you are lost.
rafael

http://www.nagavideo.com

[Mark Luigjes]

Rafael, you’re right. I must have been living under a rock or something: I was completely unaware of the gamme issue. After some digging around a lot of my past frustrations with FCP and QT became clear. What a complete mess.

So thanks again and I just fell a bit more in love with our broadcast monitors 🙂