Activity › Forums › Avid Media Composer › How to export an 8 bit 4k 4:2:0 file into a 10 bit 1080p 4:4:4
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How to export an 8 bit 4k 4:2:0 file into a 10 bit 1080p 4:4:4
Posted by Luc Tarradelles on June 21, 2014 at 7:00 pmI’ve been playing around with different workflows with the new Panasonic Gh4. So far I have been able to export 8 bit 4k 4:2:0 files into 10 bit 4:2:2 1080p files. Though I’d like to be able to export into a 4:4:4 subsampling rate.
Luc Tarradelles replied 12 years, 2 months ago 4 Members · 6 Replies -
6 Replies
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Shane Ross
June 21, 2014 at 7:31 pmYou’ll have to export as ProRes 4444 then. There is no DNxHD 4444 yet. To my knowledge.
The GH4 footage, how did you bring that into Avid? AMA and Transcode?
Shane
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Luc Tarradelles
June 21, 2014 at 7:52 pmGreat, I don’t have a mac :]
I linked through AMA, then transcoded to compressed proxy files, then either relink to AMA files in Avid when picture is locked or send an AAF timeline to Resolve for cc and then export.
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Shane Ross
June 21, 2014 at 7:58 pm -
Pat Horridge
June 22, 2014 at 8:30 amNo 4k in Avid (yet) but you can work at 444 switch the format of the project to RGB and you can choose 1:1 10bit or Dnx444. But little point bumping 4:2:0 footage up to that. You just make bigger files.
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John Pale
June 22, 2014 at 3:37 pm[Shane Ross] “There is no DNxHD 4444 yet. To my knowledge.
“It exists now. I think it came in with v7. Switch project to RGB.
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Luc Tarradelles
June 22, 2014 at 7:37 pmOk, it turns out I didn’t scroll down enough to see the dn x hd 444 option :]
I was reading this article:
https://www.eoshd.com/content/12140/discovery-4k-8bit-420-panasonic-gh4-converts-1080p-10bit-444
Apparently converting 4:2:0 4k files into 4:4:4 1080p could benefit the footage because of all the extra pixel information in 4k.
“The way this works is quite technical but it essentially amounts to using the extra pixels present in the 4K files to rebuild the lost colour information. Neighbouring pixels are summed to create a super pixel with a greater bit depth and better sampling. It requires a lot of processing power and a finishing codec good enough to store the extra colour data (10bit 4:4:4, with CineForm and ProRes being suitable choices) which is why the camera doesn’t do it internally. It does require a transcoding step in post but the increase in quality over the 8bit internal 1080p codec will be marked. The message is clear. Even if you’re working in 1080p, shoot 4K on the GH4 if you want the best quality.”
Though I don’t know enough about codecs and the science behind all of it to really make a judgement. Thought I’d try it out.
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