Daniel Frome
1
COW Coin
Forum Replies Created
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[stig olsen] “The adstream/Adtoox decoder (those who approve the upload for TV in norway) tell me they need the film in RGB (full range) as they remap it back to 16-235”
Well then they leave you with no choice, probably just keep doing what you’re doing.
Read this to learn more:
https://terburg.home.xs4all.nl/Publications/601_709_RGB.pdf -
Avid 709/RGB function is a tad more tricky than you’re describing.
In Avid speak, exporting with the 709 setting means “don’t change any values.”
Exporting RGB means “shift the 16-235 values to 0-255”[stig olsen] “That will give me a little dull image, but the details are there. How do you compensate for this export?”
This means that your video actually has color values outside the 709 legal range. And exporting as 709 from Avid does not mean your file is 709 legal. As said above, it only means that Avid won’t change the values on your export. That’s why, when you export as RGB, you’re losing some data — as there was information in the 0-16 / 235-255 range that you are now pushing out – since the RGB option is simply going to force the 16/235 marks and extrapolate out to 0-255. I hope this make sense and I have described it properly.
Sorenson Squeeze, when using the Mainconcept H264 encoder, has the option to properly remap these values. See screenshot:
I THINK the highlighted option is what you’re looking for (a 709 export, but with 0-255 range), but I can’t be sure. Experiment with the different values and check the results. Hope this helps.
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[Gary Huff] ” 24″ trumps 17″ every time”
Agreed. I didn’t mention my 24″ monitor that hooks into my laptop at home. I wouldn’t want to spend all my time looking at the laptop screen either.
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I just sold my mac pro last night. Ever since buying my i7 macbook pro I rarely used it, as mobility always trumped CPU power in the last 2 years of my job. I suppose I am glad that I sold it just before this new model was released and cheapened my resale value.
But, same as you — I will wait and perhaps never buy another mac pro again. If I ever need workstation class power at home I think I will be a PC.
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That machine is a monster. Throw in a quadro card and I care not what OS is running under the hood. Avid and Premiere Pro look the same once you double clicked the icon.
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At least in Premiere Pro they have stated that all of the ‘blurs’ are not yet supported with openCL backing. This means that it’s only CPU doing that. Just a guess…might be related.
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Yeah they shouldn’t have cut corners. At the very least the could have put those famous beveled edges on it and left it in.
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Well was this ONE TIME… I’m waiting on this certain company to come out with the newest version of editing software and then it was like PUNKED! NO SOURCE MONITOR FOR YOU!
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Duuuude, you do not want to go down this road. Too many stories to tell. It will get nasty!
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To be fair: the issue is more complicated than pinning it on Avid. Resolve is demanding that all media has a “tape name” tag — even if the media didn’t come from a tape. Avid doesn’t require a tape name to do its part, and therefore has no idea that Resolve would spit back that media.
That being said — there is obviously more work required on Avid’s part to fix the ProRes support issue. Currently you can’t AMA link > Consolidate ProRes, and (from the article) you also encounter errors with mixed frame rates.
Sounds like the perfect storm: He shot 30p media inside a 59.94 container, and Avid (wanting to be the ever inflexible beast) is balking at the AAF export for 30p — because the media technically ISN’T 30p.
These are somewhat typical issues I encountered as an assist editor — nothing new here, but it’s still a shame. I may be crazy but I somewhat wish I had a hand in troubleshooting, because I had to deal with that exact stuff and always got it done one way or the other.
