[Chris Wright]

but wait! there’s more!

1. interpret your digibeta footage in AE as upper field first.
2. don’t forget to render out with fields on.
PAL broadcast SD is upper field first, HDTV broadcast TV is upper field first, SD NTSC is lower field first.

field order here:
https://www.vfxtalk.com/forum/video-field-order-reference-list-t176.html?s=d4f87322cd2e26eb3d7c3b650ccec3ba&

[Chris Wright]

Your original was 10-bit YUV 4:2:2 sampling in NTSC (720×486) or PAL (720×576) resolutions at a bitrate of 90 Mbit/s.

I would go 16 bit 4:4:4: uncompressed with no generation loss like PNG or animation.
If you don’t have room for that, use a codec that is 4:2:2 with bitrate of 90 Mbit/s like dvcpro HD 100 Mbit/s.

Use color management so that your colors don’t shift like SDTV or HDTV. If you are unfamiliar with this, use PNG, it encodes color management inside itself so you don’t make mistakes. finally, if you have transparencies, export out RGB+Alpha millions+ colors straight(not premultiplied). If you want to work with changing your brightness a huge amount later on, consider going 32bpc so that you keep your illegal white information. Finally, broadcast spec out a 16-235 levels so that the NTSC won’t get line crawl.

[Chris Wright]

there are lots of avi’s, is yours uncompressed or mpeg and in premiere, interpret fields lower for ntsc dv, etc.

[Chris Wright]

You can take full whites and push them over the top 255 range and not lose any information.
It’s all about what you might plan on doing in the future so you don’t have to re-render everything over again from scratch if you want to change your white points. Honestly, 16 bpc is probably enough for most people that are never going to reuse there video. As, for render time, I haven’t seen any increases.

Here’s Andrew Kramer’s great video on this.

https://library.creativecow.net/articles/kramer_andrew/hdr/video-tutorial.php

[Chris Wright]

render out – rgb+alpha at millions+ straight(not premultiplied)

there’s a transparency box you can click in viewer and it should go from black to checkerboard squares, that will will confirm you have a transparency in place. if that doesn’t work, you’ll need to key out the black.

[Chris Wright]

Now since you’re in HDR mode, you can do really awesome things like
HDR compander expand range to like 1.1 from 1.0 can make lower end camcorders get more range. it will keep precision because its a full 32 bit light plugin perfect for snow or heavy light. preset-bloom bright is only 16 bit though 🙁

[Chris Wright]

You will need a codec that supports RGB+alpha channels, millions+, straight alphas rather than pre-multiplied, 32bpc, at least a 10 or 11 bit full RGB 4:4:4 uncompressed intraframe codec.

For film resolution or high-bit depth projects, consider working in a linear color space. Why? I’ll tell you why, You want color mixing free of edge artifacts. linear vs. gamma read:
https://prolost.blogspot.com/2005/01/color-correction-in-linear-vs-gamma.html

As for the color management, you can go 4 ways. four ways: absolute colorimetric, relative colorimetric, perceptual, and saturation. Linear sRGB IEC61966-2.1 (D65) is good.

as you can see, it gets exponentionally more complicated after this but you’ll have color managed, linear floating, perfect quality in all adobe products, professional work.

Here is a good website that tells you how to do the full trip.
https://www.fxguide.com/fxtips-315.html

[Chris Wright]

just animate with keyframes a gamma shift, that’s what expensive plugins do.

[Chris Wright]

what are you rendering them out of in premiere? a mpeg2?

[Chris Wright]

let me get this straight, your slideshow is 60 GB? Sounds like your single hard drive won’t be able to do realtime playback.