[Chris Wright]

adobe said to reframe into another comp only the very specific sizes BM will accept. Unlike other devices, BM won’t automatically accept scaling. You can blame BM for this one. i.e. there drivers.

[Chris Wright]

I forgot to mention, if you make image sequences, you can splice them like editing without re-rendering
Or if your really creative, re-number them so they import in a new order.

[Chris Wright]

I agree with David, but if you really need lossless for multigenerational stuff and you can’t get a raid, consider
QuickTime png codec. It’s 8 bit like lagarith. Or png seq 1-2 mb/sec/fr

Have you ever considered proxies like prores dhxhd cineform? That makes more sense than trying to work full res with slow hd!

[Chris Wright]

The overflow error is a codec not supported its probably variable fps and vbr audio. Use handbrake to transcode to another codec like QuickTime png.
You should leave interpret alone at 14.985, drag video into a new sequence at 29.97 right click pixel motion.
Make sure layer is set to best quality. The pixel motion should optically convert to a smoother frame rate. Export as 29.97. Let us know if this doesn’t work.

Also since you have fcpx or compressor, they support optical best quality as well.

[Chris Wright]

ok so far everything works: I just tested these from premiere to media encoder back into AE.

PNG seq
quicktime cineform go pro rgba
jpeg 2000 4444
Tiff straight matte

[Chris Wright]

i just did an image sequence the other day with PNG sequence with alpha channel(millions +(the plus sign). you can set as straight or premult.

the advantage is that you won’t lose any quality. I’ll check the other codecs and see if there’s any bugs! there just might be…

[Chris Wright]

hard to say, in actuality, sRGB and Rec. 709 are relatively pretty close.

the most likely answer is that html 5 is trying to decode at Rec. 16-235 instead of 0-255 so un-contrasts the footage.
But I’m glad at least one person believes me. Everyone else is still fiddling with curves adjustments and media encoder contrast/saturation, hahah.

[Chris Wright]

if your AVI’s are the same frame size, and framerate, you can join them easily in the free VirtualDub.

Open the first. Set the Video to ‘Direct Stream Copy’. Set the audio to ‘Direct Stream Copy’. Select FILE | APPEND AVI SEGMENT, and open the next AVI in sequence. Repeat as necessary, and then select FILE | SAVE AVI. It will produce a single AVI as the output in 10 secs instead of hours.

[Chris Wright]

i’ve read a lot about this and here comes my 2 cents…
ok, so the trick here is 8 bit vs 10 bit(i.e. professional).

remember the 8 bit log for the GH4? in the beginning, everyone was like,

wow! it’s totaly worth it to buy the log thingy, until they found it’s 8

bit.

Well guess what, all that pulling and pushing to get back to where you

need to be(with a LUT) doesn’t actual help you at all if you’re 8 bit. and

h.264 isn’t going to help much either, it’s a bitrate limited codec.

i.e. if you do want to shoot flat you need a camera with very low noise

and 10 bits and guess what keying likes? yep, low noise.

->What you are actually looking for is a “Neutral Picture Style”, not a

flat profile. although this technique is confusingly called prolost flat.

i.e. sharpness 0, contrast 0, saturation(2 notches left)

the reason saturation is not 0, if you throw it away in the camera’s
codec, then its almost impossible to get it back in 8bit, 4:2:0.

Cinestyle may give 1-2 more f-stops,but the color noise will go waaaay up.

Another important thing to save your bits from artifacting is to make
doubly sure your white balance is correct, so you’re not fighting the temp
colors in post.

[Chris Wright]

chroma and luma are used for different stuff.

chroma is how much saturation it can handle till it bleeds, luma is how bright. for example the color profile, (Rec. 709 16-235) is legal ntsc luma but could still have chroma(saturation issues)

the easiest way to force color management interpretation is AE’s utility color profile converter. This is because youtube doesn’t support color management. set input as your project setting or view-simulate and output as Rec. 709 or Rec 709 16-235.