Chris Wright
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Audio Coin
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COW Coin
Forum Replies Created
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here’s what i got. i didn’t have any skin reference but i got the wd-40 blue, red, white balance pretty close.
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here’s what i got. i didn’t have any skin reference but i got the wd-40 blue, red, white balance pretty close.
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exporting can be the slowest drive you have because your computer will never render in realtime.
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here’s what i got. i didn’t have any skin reference but i got the wd-40 blue, red, white balance pretty close.
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I use this plugin. its crystal clear and doesn’t color the audio at all and its free! now obviously if you’re raising volume, you’re also going to raise the noise floor too, so you may need to use noise reduction.
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does it look the same when you re-import back into premiere? or change your os’s color management from P3 to rec. 709? there’s more blue on the right(60). Does it only happen with h.264? finally, try shutter encoder with a prores export. I remember there being a h.264 color shift bug depending on if export was HD vs 4k resolution! I dunno if they ever fixed it, but if its consistent, you could make a color swatch lut in 16 bit for a 64 cube.
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your gpu should be 8gb if using 4k. especially in resolve where the gpu is king. if you did buy a new gpu, it would probably be bottlenecked about 15% by your cpu, but would definitely be an improvement. resolve wouldn’t need more than 16gb ram unless you’re running several effects in Fusion. after effects could cache more sequences, but would always be limited by the older proc. ironically getting a new gpu right now costs more than a new pc, so i’d wait 6 months for gpu prices to come down. the newer gen ryzens are pretty amazing for the price so intel does have a battle for your support.
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1. How does it look when you re-import it back into premiere? it looks like a colorspace issue. imac uses P3 for their native display. some users change the os to rec. 709 to match premiere.
2. youtube reads nlc metadata codes inside video where rec 709 can be either gamma 2.2 or 1.96.
3. as a last resort, try shutter encoder to determine if media encoder isn’t encoding the file correctly.
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1. is max bit depth and max quality on? 2. try exporting to a high quality mezzanine like prores then encode to h.264 with free shutter encoder.
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Log c and cineon use different gamma curves so I always try to avoid mixing and matching gamma curves due to posterization errors. I’d stay…
Log c and cineon use different gamma curves so I always try to avoid mixing and matching gamma curves due to posterization errors.
I’d stay away from rec 709 working space if indeed, the logc also is encoded in arri wide gamut which is much larger and rec. 709 could cause gamut clipping of colors.
If you are encoding in an ACES environment, you can use the opencolorIO plugin which they use to encode EXR files which supports color display mapping, but if you want to use luts manually, you can get all sorts of luts generated on the arri site, refined right down to the iso they were recorded at as there is always a shift in the gamma curve.(this is probably why it was clipping)