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What exactly is 32-bit??
Just curious,
“32-bit internal processing” has come to mean a bunch of different things from different companies, and I’m curious to know what it exactly means from Adobe.
First, I know it’s not HDR imaging like After Effects’ version of 32-bit . . . that’s another ball-game.
What I do want to know is:
1) Is this limited to YUV (like FCP, which is only 8-bit in RGB) or RGB effects, or can it handle both color-spaces internally at that bit-depth?
2) Is *any* effect processed at 32-bits internally, or are only some effects supporting of deep-pixel processing? If so, does that mean when I drop a dissolve, or some simple effect, that it will dumb my footage back down to 8-bit internal processing, or will it still process those types of effects at 32-bit?
3) If I import a 16-bit image, can I, like in After Effects right now, add an effect and still maintain the 16-bit properties of that image after export to a deep-pixel format that supports 16-bits (i.e., 16-bit TIFF, PSD, etc.)?
Jason Rodriguez
Virginia Beach, VA -
8 Replies
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[Jason J Rodriguez] “1) Is this limited to YUV (like FCP, which is only 8-bit in RGB) or RGB effects, or can it handle both color-spaces internally at that bit-depth?
Premiere Pro’s native HD/SD/HDV and DV codecs are all YUV based. Their new HD and SD formats are 8 bit and 10 bit. Black Magic has 444 10 bit RGB support with it’s hardware and that processes in 10 bit with a majority of Premiere Pro’s effects.
2) Is *any* effect processed at 32-bits internally, or are only some effects supporting of deep-pixel processing? If so, does that mean when I drop a dissolve, or some simple effect, that it will dumb my footage back down to 8-bit internal processing, or will it still process those types of effects at 32-bit?
Not every effect is processed at 32bits. You might be able to request a list from Tech Support. I have a list in one of the chapters of my new book. If you are working with 8 bit footage, the processing of the effect applied to the footage would calculate in float (with most effect processing at 32bits). Most effects support float. If you have 10 bit footage, the dissolve will calculate in float and apply at 10bit, same goes with most effects.
3) If I import a 16-bit image, can I, like in After Effects right now, add an effect and still maintain the 16-bit properties of that image after export to a deep-pixel format that supports 16-bits (i.e., 16-bit TIFF, PSD, etc.)?”
Yes, as long as it is a high bit depth supported effect and again you would want to refer to a list, suffice to say most if not all the color corrections effects process and apply at higher bit depths.
jacob
http://www.premiereprotraining.com
http://www.formikafilms.com
http://www.d2gfilm.com -
Oooo! New book?
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Premiere Pro 2.0 Studio Techniques is almost there.
It has been completely revised in the new version. Some chapters are the same lessons, but done in 2.0 and a lot of new chapters too, lots of content on the dvd as well.
jrhttp://www.premiereprotraining.com
http://www.formikafilms.com
http://www.d2gfilm.com -
Outstanding. Keep us posted.
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Have not really tested to see it actually works with third party effects, but the 10-16 bits processing appears to be real, so it’s the first NLE (except maybe for Avid DS and Discreet Fire) that can actually process effects at higher bit depth, which is very cool. However the 32 bit float thing as far as I understand (I can be wrong) in this version might fall more on the marketing schmok thing to feature match FCP marketing schmok as it does not mean much if the precision is not retained.
Pierre
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Based on the testing criteria, I know for a fact that the 32 bit is real for a number of the effects, not all of them. HOpefully more third party folks will take advantage of it. I can;’t wait for your stuff with 2.0 pierre.
Jacob
http://www.premiereprotraining.com
http://www.formikafilms.com
http://www.d2gfilm.com -
[Pierre Jasmin] “However the 32 bit float thing as far as I understand (I can be wrong) in this version might fall more on the marketing schmok thing to feature match FCP marketing schmok as it does not mean much if the precision is not retained.”
Right . . . FCP is 32-bit for YUV *only*, so that basically means you import a 16-bit RGB file, or have a YUV file and perform a RGB filter on it (like an After Effects filter), and your footage gets dumbed down to 8-bit RGB internal processing, which is completely useless for all intents and purposes . . . so you’re saying with the new Premiere Pro 2.0, that a 16-bit RGB file, or a 10-bit 4:4:4 RGB file all can be processed at 32-bit float? 32-bit Float is NOT just for YUV footage and effects??
Thanks,
Jason Rodriguez
Virginia Beach, VA -
Pierre, I have a special question probably not suited for this forum but in keeping with this thread, sort of..
I have captured my files using Final Cut in QT 422 10bit uncompressed, I’m working with a visual effects company that’s not used to working in any kind of video workflow especially QT. Their people don’t want to even learn about it, I’m getting a deal so I won’t press this issue with them, They are wanting DXP log files and are willing to accept any other type of image based file format that is at least floating point linear or similar. Since my YUV needs to be converted to RGB etc and I see in this thread that Final Cut may not be the best choice I’m wondering if Shake which I have but have never used would do a better job of converting my work to a promoted space. I’d stay in an RGB space for the rest of the workflow on out to film, in other words I’d get back from the effects house the same kind of file I’d be giving them and then would output 10bit RGB QT from shake back to Final Cut to XML to Color Correction on Final Touch then out to a file format used by the film printers.
My question is how do I get Shake to convert my 10bit YUV files into some kind of RGB file format without any compromises?
Thanks, Keith
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