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Strange artifact in hot areas when exporting
An office mate came back from the field shoot with P2 card footage shot on the Panasonic HVX200, he imported the 1080i/30P footage into FCP as native format and when he renders some out on the timeline, the hot whites in the sky that are near 100 but not completely blown-out (some detail of clouds is still visible there) show up in the analog monitors with visible vertical lines in those hot areas, almost like zebra bars, but fainter and straight up and down. Any ideas, suggestions, novenas, gladly accepted.
I have suggested he try applying a safe levels filter first, then checking out if the problem persists. The effect is not seen in the mac’s preview or program screens in FCP, but only at the SD analog output stage. We use an AJA IO.
He’s also frustrated by the extreme slowness of working in native HD on this twin G5 mac, (recently updated to latest OS vers.) Everything needs a render, even just to play the initial footage on the timeline smoothly. I was going to suggest to him he convert the footage to Apple intermediate codec for the actual edit. Concur?
The final product is going to be SD anyhow, as we have no HD decks, so I assume the only option to get “true” HD back out is to burn a quicktime file to a data DVD. Who’d done this? Any tips?
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3 Replies
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Let me guess, when you say he’s rendering out on the timeline, is he going to UC 10 bit?
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Bingo. And?
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It’s a bug in 10 bit and usually happens when clips are scaled.
Putting on a desaturation filter and turning the value to 0 will fix it. Essentially this filter does nothing to your image color wise, but it does clean up the artifacts.
You can also turn the whites way down, but that is not always desirable/possible
Jeremy
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