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Color shift with DVCPRO HD files
Hi–
I’m editing a corporate video in FCP with Kona 2 hardware, using the DVCPRO HD codec. When I import files into After Effects, I notice an obvious shift in gamma and color saturation when compared to Final Cut Pro. I’d appreciate any ideas about why this is, and how I can work around it.
Here’s the workflow:
Super 16 film, telecined to HDCAM 23.976psf.
Clips captured from J-H3 deck to DVCPRO HD codec 1280×1080 23.976 files in FCP.
Edited clips exported from the FCP timeline as reference files, which are imported into AE.
Final Cut Pro version 5.04, QuickTime version 7.1.3, After Effects version 6.5
Workstation is a dual 2.7 G5 running Mac OS 10.4.7My apologies for cross-posting (on Kona 2 forum as well, but getting no response). Thanks for your help!
Mark Lyon
Mighty Max Films -
2 Replies
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Perhaps this might be some information.
Here is a link which may help explain…
https://www.hdforindies.com/2006/10/more-final-cut-pro-color-oddness.html#links
QuickTime Movies Issue
When importing a QuickTime movie created with Shake into Final Cut Pro, users may notice a difference in the displayed gamma of the image. This is because Final Cut Pro automatically lowers the gamma of sequences playing in the Canvas on your computer’s display. The gamma of QuickTime images remains untouched when the sequence is output to video or rendered as a QuickTime movie.What causes this?
Final Cut Pro assumes that QuickTime movies for codecs that support the YUV color space (including DV, DVCPRO 50, and the 8- and 10-bit Uncompressed 4:2:2 codecs) are created with a gamma of 2.2. This is generally true of movies captured from both NTSC and PAL sources. When you eventually output the sequence to video, or render it as a QuickTime movie, the gamma of the output is identical to that of the original, unless you’ve added color correction filters of your own.However, during playback on your computer’s monitor, Final Cut Pro automatically lowers the gamma of a sequence playing in the Canvas to 1.8 for display purposes. This is to approximate the way it will look when displayed on a broadcast monitor. This onscreen compensation does not change the actual gamma of the clips in your sequence.
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Thanks for the info!
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