[Gary Adcock]

[Marshall Lee] “The client wants this aspect ratio. Not sure why, and I can change this in the capture settings on my other black magic rig and it works, but it won’t on my Kona.”

That does not surprise me.
the Aja cards are pretty specific about sticking to the SMPTE standards –which that frame size is not.

gary adcock
Studio37

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https://blogs.creativecow.net/24640

[Gary Adcock]

[Rafael Amador] “H264 supports 14b, 444, Intraframe but you don’t get that in FCS/QT. “

Why is it necessary to confuse the subject, BJ’s question was on ProRes not H,264

According to the table of available h.264 encoders listed on Wikipedia-basically no one on any platform supports the “up to 14 bit” Interframe compressed “professional” versions of h.264 at this time.

https://en.wikipedia.org/wiki/H.264/MPEG-4_AVC#Software_encoder_feature_comparison

and its still NOT 16bit.

gary adcock
Studio37

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https://blogs.creativecow.net/24640

[Gary Adcock]

Chris, no issues

this is what the Cow is all about, I just happen to be a real geek in regards to the video signal stuff.

[Chris Bennett] “I was assuming Panasonic’s claim was correct because in the FCP browser the rewrapped footage is listed as 1080, 60fps and progressive.”

Very interesting- we never got to that stage- we rejected the camera based on what the scopes were telling us (it was for a feature and we needed to match much higher end cameras)
The footage may very well read that way- but “line doubling” means that the file is only half the vertical resolution due to the duplication of every other line=

I am going to assume that you do not have a video output for your work, (like a kona or matrox card in your computer) and therefor you not ever see some of the issues related to a true 60P workflow.

1080 60p like its cousin 720p60 (note different “p” position) on the higher end cameras support VFR or variable frame rate captures allowing the shooter to “overcrank” or “undercrank” the footage to slow it down or speed it up. There are a relative few consumer devices that can handle that frame rate for playback ( like on your TV set – we are talking about editing video here)

gary adcock
Studio37

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Chicago, IL

https://blogs.creativecow.net/24640

[Gary Adcock]

[B.J. Ahlen] “Come on, we won’t tell anyone! “

yeah right…

“The next question is obviously how much this has been actually tested with real footage. We’re glad to see yo are prepared to bleed for us… “

Ah..
When you are this far out on the edge the blade is pretty sharp- ya never feel it and its the guy behind me that’s covered in blood.

As for testing- I have been working in these workflows for almost 6 years now and I am guessing that maybe 50 -60 % of the workflows I design and/ or debug are working at this level somewhere during the process.

gary adcock
Studio37

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https://blogs.creativecow.net/24640

[Gary Adcock]

[Uli Kunkel] “So in an RGB timeline, should my realtime setting be set to “Safe” or “Unlimited RT?””

again-
All FCP renders done under the RT Extreme engine are done in 8bit and the overwhelming majority are processed as YUV. Using the “SAFE MODE” is the only way to force correct rendering in FCP.

I would be surprised if RT would be even available in a properly configured RGB timeline. It is not available when capturing to the AJA RGB and RGB Log versions by default.

gary adcock
Studio37

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https://blogs.creativecow.net/24640

[Gary Adcock]

[B.J. Ahlen] “That’s from combining the info in the [FCP7] “Supported Formats and I/O” section in Apple’s FCS Spec (linked in my earlier post) with the info in the ProRes White Paper. “

This is contrary to the information I got direct from my contacts in the QT team who are behind everything we are talking about.

I see nothing about limiting the 12bits out of the PR4x4 codec to 10bit and I have re-read the doc about 3 times today looking for it. Even understanding that there are very few devices that can actually understand and handle a 12bit signal is secondary- I just do not believe that they (apple) would arbitrarily trim off 3000+ levels of gray off the signal for “yuks”.

gary adcock
Studio37

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https://blogs.creativecow.net/24640

[Gary Adcock]

[Jeremy Garchow] “Huh. That’s a new one. “

yeah, we have all been fighting that one for awhile, would have been nice if they had told us that when ProRes was released.

It was someone at Adobe that turned me on to searching down that path.

gary adcock
Studio37

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https://blogs.creativecow.net/24640

[Gary Adcock]

[Uli Kunkel] “But if my timeline render setting is on “High Precision YUV” won’t it render dissolves and other transitions in a YUV color space rather than the RGB color space of the ProRes clips in the timeline?”

Sorry Uli,

My mistake, I had to go back to the original post see that you were working in RGB – in an RGB timeline the processing message should actually say float, but I am not on my machine to confirm that

I do know that the YUV render option is greyed out when working in a RGB timeline.

gary adcock
Studio37

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Chicago, IL

https://blogs.creativecow.net/24640

[Gary Adcock]

[Chris Bennett] “Have you had a chance to check out this range of camcorders? I have the TM700. It does shoot natively in 1080 60p and the files are superb. It is also possible to edit in FCP but you have to convert the files first.”

Chris,

Yes I have tested this camera as part of a project I was working on and according to my hardware the signal is not 60p but actually line doubled 60i as would be the nature of the processing out an HDMI signal.

FCP does handle 1080 60p but only with 3rd party video cards, not natively within the application itself, as working in 1080 60p currently requires either a dual link or 3G connection to be handled properly in post.

gary adcock
Studio37

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Technology Development
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Chicago, IL

https://blogs.creativecow.net/24640

[Gary Adcock]

[Jeremy Garchow] ” It is my understanding that FCP only renders in 8bit RGB. “

that would be the RTX engine, which because of speed always renders in 8bit – just like Avid does.

Working in FCP’s “Safe” mode does not force the same restrictions on bit depth with renders that the RT Extreme engine does with your files.When you have processing set to float or “high precision YUV” it should maintain the quality you desire.

gary adcock
Studio37

Post and Production Workflow Consultant
Production and Post Stereographer
Technology Development
Quality Assurance Assistance

Chicago, IL

https://blogs.creativecow.net/24640