Aaron Star
Forum Replies Created
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I would turn the GPU back on for one, and make sure your GPU is running x16 speed with GPU-z.
You did not say what your format is that you are trying to edit. Vegas will offer the best playback speeds with .MXF container, and in my experience with Sony Codecs. Run your tests with camera master footage vs. .MXF-XDCAM-EX/422, HDCAM-SR-422 or Lite, or XAVC, then compare the performance with AVC.mov or dnxhd.mov. You should see that you can apply more effects or cross fades with .mfx/sony project.
NVIDIA does not perform as well with OpenCL calculations compared to AMD cards.
Most editing can be done in Preview half or quarter (for really complex timelines), then switch to Best full to see “results” or Shift+M for preview build of a region. Output rendering will give full results.
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I see what you are saying now. Yeah 32-bit mode is going to have more levels of brightness and color info. You should be able to do the same thing, just need to keep working it until the green level are clipping the way they do in 8-bit mode. I tried the same thing using a mask, and uploaded another version of the file. See if this works better. You can play with the levels on the mask to vary the detail levels in the hair and skin. As far as the green spill on the hair goes, I am not sure how to get rid of that, minus dropping the color.
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I used to handle tape back up for companies to LTO and DLT. The thing about tape backup you need to consider is that it is very much like writing CD/DVD media. Your host system and needs to be able to supply about 2x 160MB/s, in order to be able to keep up with the tape drive. Once your buffer is under-run to the tape media, the tape stops, backs up, and then continues writing. this repeats until your job is complete. At tape speeds, this eqauls large amounts of time cumulativly. If you want to improve this time, you need someone that can optimize your system down to the motherboard level. My guess is the host system cannot keep with the IO necessary to keep the tape streaming both in read and write mode. The ATTO device might be a bottle neck, or the external drive, each device in the chain need to be verified that it can perform at 300MB/s. Just because its a MAC+thunderbolt+”it works” doesn’t mean its any where near optimized.
Even optimized to the point of keeping the tape streaming, the math works out to about 3.5 hours at 160MB/s to write 2TB. Verification is just that, it reads the entire tape back bit for bit, for and 3.5 hours. There is rarely any compression benefit when backing up video formats to tape, disabling compression on the drive could improve streaming.
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If you are interested, here is an article on USB 3.0 speeds and how your hardware might be holding back your transfer speeds. Faster USB 3.0 Performance You may want to ask your local Mac Genius if the know anything about this.
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Here is a zip of the project settings. It does not render any different between SonyAVC, XAVC, or QT. The main thing is get the green high enough to clip out. Its easier to send you the vegas file than document the settings.
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Looks to me like Sony and MC have more latitude, and the quicktime is either expanding the level range out so the background is clipping or is not including the levels above a certain level. I was able to recreate what you have using your original with Sony AVC. Use your video scopes and make sure that background is clipping, or use a white background when you shoot. That way the white will roll off faster than the skin tones.
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Is the outside slider for the Magic Bullet corrector set like for like with Sony’s? It looks like the Highlight slider is applying a warm tone, and the shadow a muted tone. I have not really use the MB corrector before.
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Depending on how your Vegas preview is configured, the shift is most likely from sRGB to Computer RGB. If you are going from timeline to WMV to mp4, you would be doubling up on the conversion. Timeline to Sony AVC/mp4 should keep the sRBG levels, but when a player like Flash (youtube) or WMP decodes they will expands the levels to CompRGB. This looks like crushed blacks and extended contrast. You could try a test render applying a Sony Levels>set to Comp to sRGB, then try the playback and see if your levels are as expected in the player.
Converting straight to WMV performs this conversion, the player recognizes this and does not perform the expansion. But the shift from timeline sRGB to WMV CompRGB will look like an expansion is happening.
You can go into WMV profiles and create a custom size for 1920×1080. If you want to keep using WMV.
Your problem has to do with maintaining correct levels through your workflow. Its not really a Vegas problem, because vegas is doing exactly what you are telling it to do. There are many ways to apply and view level changes between SRGB and CompRGB monitor standards. It is up to the editor to understand the details of different display technologies.
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Vegas seems to dumb down image sequence export, and just seems to assume a standard TIFF format. An alternative might be to use Blender in Video Editor mode. Blender allows you to export your video clips as image sequences, and choose RGB or RGBA as a selector. You can also go straight to JPEG2000 in Blender, but you would need to convert your color space to xyz before export. Blender does not seem to offer rendering to xyz jpeg2000.
DCP builder does say it offers video format conversion via FFMPEG plugin:
“converts audio clip formats (WAV, FLAC) plus TIFF/PNG/TGA/DPX/BMP sequence of pictures. It also converts nearly all video formats, thanks to a user-supplied external FFmpeg plugin;”
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You do not really need Quicktime installed to read AVC.mov files from dslr or other cameras that read it. If the files were converted to another format with quicktime, then you may need quicktime to read them. I really do not see any problems with having quicktime installed. In fact I think you should have Quicktime and Avid’s DNxHD codec pack installed, for compatibility with a wide range of media formats.
If you go to properties for the media in Vegas, you should see:
Plug-In
Name: compoundplug.dll
Folder: C:\Program Files\Sony\Vegas Pro 13.0\FileIO Plug-Ins\compoundplug
Format: Sony AVC
Version: Version 13.0 (Build 428) 64-bit
Company: Sony Creative Software Inc.for AVCHD encoded files from cameras that store this method.