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roundtip from Windows Resolve back to FCP7 – codec to use
Have spent this afternoon trying to figure out a codec for outputting fcp roundtrip
We are working on a PC resolve
From what I have seen it isnt possible to get a reliable Codec out from this resolve PC to a mac with FCP 7 and a kona card
Have tried
Uncompressed YUV 422 8bit
Uncompressed YUV 422 10bit
Uncompressed RGB 8bitHave tried with colour bars (ungraded) and I am outputting signal from FCP to tektronics scopes where I am seeing a slight shift in chroma but not the Luma
As I have also got a red render bar I am thinking the codec outputting from the PC resolve isnt optimised for FCP e.g. its reading as Apple none (for the YUV outputs) or none (for RGB outputs)Is there a specific solution I should be using e.g. a good codec that isnt cineform
would prefer replies from people that have experience on windows version of resolve as this is probably a quicktime issue on windows or a codec issue from resolve on windows
needing to find a solution as have big job on next week
thanks
ben -
5 Replies
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[Ben Scott] “As I have also got a red render bar I am thinking the codec outputting from the PC resolve isnt optimised for FCP e.g. its reading as Apple none (for the YUV outputs) or none (for RGB outputs)”
Your biggest single clue.
When Apple sees “Uncompressed” as “None”, then its a Quicktime/file problem; cross-platform from PC/Windows/NTFS to Apple/OSX/MacOS. There are issues with byte-ordering that will cause Quicktime under Mac to fail to see what the codec is when it is transported through NTFS. (I’m assuming you’re exporting the graded footage either through a server or an NTFS external hard drive.)
Its possible that a re-render, even cross-rendered back into Apple Uncompressed will cure the problem — however, there may also be scaling problems inherent in this export path (of the nature 0-1023 / 64-940). Its bad news all around.
Your slight shift in chroma/not luma may be due to the Y’CbCr –> RGB —> Y’CbCr not being mathematically rigorous, and it cannot be, oweing to round-off errors. But you ARE going to change the values of most of the footage…. right? Otherwise, if you want EXACTLY back what you sent, then … why are you grading? ;-D
jPo
You mean “Old Ben”? Ben Kenobi?
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haha, good one…
I just say, get out of codec world, try Glue tools.A slice of color…
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https://www.icolorist.com/Sascha.html -
[Sascha Haber] “I just say, get out of codec world”
If only…. Bob Zelin mentioned it during his streamed NAB interview, that the codec mess we’re in is descending into madness. Unfortunately every compression geek out there thinks that they have “the answer” and just push it in whether its a good idea or not, and certainly almost nothing that we’re working with today would likely stand up to a SMPTE standards committee agreeing on whether to give it an actual format designation, like the old days of, for example “C” format tape, or conforming to an RP approval.
jPo
You mean “Old Ben”? Ben Kenobi?
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I have been outputting blackmagic 2vuy file from avid pc with rgb output values for a whil reliably to fcp7
It reads as uncompressed not none codecWill try a mac formatted drive with paragon to see if this helps eg not ntfs
We were writing to exfat drive
Haven’t properly seen the scopes out from resolve for the imported prores file as signal did realise that output at inputted levels mattered as did legal levels as working rec709
Not too sure the glue tools solution is a long term fix, how do the clients get back the fcp7 timeline with rec709 easy to use files
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see that cineform has a free codec for gopro cameras and that seems to encode out from resolve, for the encoding in fcp 7 timeline for dissolves I found the cheapest is neoscene which should be fine for many 2d applications
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