Floh Peters
Forum Replies Created
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[jim Wilcox] “We work with AE on another system, but are monitoring everything on a NTSC monitor as we composite/animate”
What kind of V-Out do you use on this system? There are solutions that expect RCB0-255 from AfterEffects for 0-100% V-Out…
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Jim,
technically the workflow with stretching the incoming clips and compressing the output range is the “safest” way, but of course you do lose some brightness resolution (by scaling up and down again). There are some minor benefits doing it this way, but also some problems. The minor benefits are that you (probably) get a (little bit) more accurate calculation in the blend modes, that you don
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Send it over to me.
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The new Full range export is only happening for clips exported from Media 100 HD to quicktime, not for clips exported as self-contained or by ref. Btw., why are you converting the files to RGB0-255 and back to 16-235 anyway? If you pipe a Media 100 file through AE without any changes it will stay in its original levels/colors, so usually there is no reason to do that. Additionally, the Media 100 V-Out preview also displays the RGB16-235 files correctly.
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Are you in NTSC or PAL land? It sounds like the usual NTSC/Setup problem. Since we are working in PAL I don
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[Michael Slowe] “My question is will any production house with an HDCAM deck be able to take this off or would they need the Media 100 codec?”
The question is in what codec you did export it to. Did you do a “Self Contained” export? Then the company needs the Media 100 codecs, since the material is in its native codec. Or did you use another codec? Then they need that codec on their system to play it out. Most likely they need to convert it anyway to get realtime playback of HD material to a “native” codec on their editing system.
The additional question you need to deal with is what RGB colorspace the system uses that does the mastering. Media 100 does use a RGB 16-235 colorspace for their legal ranges, so it is possible that the videos contrast needs to be stretched depending on which equipment they use.
I think the best option would be to either rent a HDCam deck or send the drive to a company that has Media 100 HD and a HDCam deck for mastering.This way you can be sure that the video on tape looks as you would expect. If you want you can contact me directly, since we have the hardware you need 😉[Michael Slowe] “For a double pass encode it took 8 hours, sounds odd to me! VBR at an average of 6.025.”
This is completely possible, since BitVice needs to not only read HD material which is slower than SD per se, but it also needs to do a high-quality scale-down to SD resolution. Obviously this operation needs some time. -
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[Jerome Robbins] “The problem is getting the footage back to normal viewing. I use Media100 as my NLE, so I can reverse the footage. I have Boris RED. Is it possible to turn the footage upside down, which would actually be rightside up?”
An option would be to get Media 100 sw (e.g. the free trial version), which does this in realtime for playback, and if you want to render this effect it will be pretty quick. Or import your footage into RED, filp it there and render it through as a long movie for editing.
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Have you deleted the Media 100 preferences (in YourHomeFolder->Library->Preferences)? If this does not fix your problem you should look into your HardDrive->Library->QuickTime folder to see if there