MC5 and overbrights

[Job Ter burg]

The remapping only happens if you go through File->Import, and only if you check ‘RGB’ as a source setting. If you were to choose 601/709, it would leave all levels as they are.

If you are bringing in media as MXF, the Avid will not change the color space, as these files should already be considered to be 709.

If you open the color correction tool, you will probably see superwhites there, going up all the way to 255. You can use the safe limiter or the color correction tools to bring those levels within the legal range.

[Cris Daniels]

Great, thanks for the quick reply,

I am coming from FCP and using the MC5 demo so this is why I have some of these basic questions.

So basically it looks like you are designating whether your are importing RGB or YCbCr footage from that dialog box. Just wanted to make sure that it would properly honor my video signals as shot and not clip upon import.

Does working with the AMA media interpret the video files any differently (in terms of those overbrights)

P.S. – I miss the razor blade tool from FCP

[Job Ter burg]

Again, the 601-709 versus RGB option ONLY applies to files you bring into the system through File->Import. It is really only meant to bring in computer graphics that have not been created in 601/709.

AMA may use some color space conversions depending on the source format and the AMA plugin that is used, but in general, for a 709 compliant device like a camcorder, that will just be brought in ‘as is’.

The only way to clip levels when importing is if you go through File-Import (or File-Export later on) and choose any of the RGB options offered there.

If you miss the razor blade, just find the ‘Add Edit’ button. Does the same thing, AFAIK (not at all familiar with FCP, but Add Edit splits any segment or track where you want to split it).

Hope this helps.

[Cris Daniels]

Right, I understand that the RGB full range option would be perfect for importing motion graphics and such. That having been said, there are full range video files exist, the Canon 5D MKII which shoots full range HD in the 601 colorspace for example ,although it is obviously not RGB footage. My original question was “how does MC handle footage that is not specifically shot 16-235”, glad to know that the 709 option won’t bungle the footage.

So far as I can tell there are only two ways to import footage, through the import command, and the AMA. Is there some other way I am missing?

And thanks a million on the “Add Edit” tip, that is exactly the tool I was looking for.

I am liking the program so far, I am trying to learn it in case the next version of FCP is a turkey. I think that the real problem for me is the lack of Blackmagic/AJA support.

[Job Ter burg]

AMA and File->Import are indeed the two ways to bring files in, although with AMA, it’s a link to the file, not really importing it in the traditional Avid-way. Therefore, the source file itself is not changed with AMA, whereas an import results in a new (Avid MXF) media file.

I don’t think AMA has any rules for how it interprets the color space for source footage, that depends on the AMA plugin that is being used. If you open up those Canon files through AMA, that will use the Canon plugin. Like there’s a separate AMA plugin for Red, etc.

If you transcode an AMA-linked file, then it will become an Avid mediafile in 709 color space.

If you go into color correction mode, you can switch each of the three composer windows to a waveform monitor, and you should easily be able to detect if things look right there.

In general, AMA should take care of color spacing for you.

[Jeff Greenberg]

Nope – no other ways to import footage.

Best,

Jeff G

[Hector Berrebi]

i’ve just checked to be certain
loaded a canon volume through AMA
added a “color space” column (isn’t it cute they became columns…)
MC5 interprets file as 601 (curious enough)
in color correction mode i get no clipping and can see superwhites above 235 and superblacks below 16

after transcoding to DNxHD 120 (PAL side of the wrold), which is the proper workflow for canon (AMA then transcode) file still retains info in superwhites and blacks

however they are corrected to 709, as they should be

coming from FCP, think of AMA + transcode as sort of a log and transfer tool, not as useful as L&T, but will get you there

if you use xdcam BTW, you can safely and smoothly work via AMA with no transcoding or importing involved (same goes for P2)

*note to avid 🙂 an avid L&T tool would be nice in this tapeless world of ours.

its quite funky though… canon DSLR HD files are 601?? why?

hector

Hector Berrebi
Schibber Group
prePost Consulting

[Jeff Greenberg]

My friend – my guess is that AMA QuickTime’s are handled as 601 – that they’re not doing any real analyzation beyond the codec. I owe you an email anyway.

Best,

Jeff G

Apple Master Trainer
Avid Cert. Instructor DS/MC
Avid & Color Videos Vasst.com
Compressor Essentials Lynda.com

[Hector Berrebi]

hey Jeff 🙂 hope you are well

you’re right. while in p2 xdcam or RED analysis is correct in that column

every qt file i link is seen as 601…

this should be fixed

see you in april

hector

Hector Berrebi
Schibber Group
prePost Consulting

[Cris Daniels]

This is the app I have been using to transcode DSLR footage for Final Cut and they have verified that Canon uses the 601 matrix with the DSLR’s, of course nobody quite knows why…..

https://rarevision.com/5dtorgb/

I have don’t know if all QT files are acting this way, most are correctly tagged Rec709 internally. This Canon footage is an aberration,most HD footage should come in as 709. If its all coming in 601, AMA is the culprit.