Jim Wiseman
Forum Replies Created
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You can get all the Final Cut codecs including the ProRes with a purchae of Motion 5 on the Mac App store. I still think they are the cleanest codecs by my comparisons, and in widest use. Also heavily favored for AJA hardware, co- developed with Apple.
Jim Wiseman
Sony PMW-EX1,Pana AJ-D810 DVCPro, DVX-100, Nikon D7000, Final Cut Studio 2 and 3, Media 100 Suite 2.1, Premiere Pro 5.0 and 5.5, AJA ioHD, AJA Kona LHi, Avid MC, Hexacore MacPro 3.33 Ghz 24Gb RAM 120GB SSD, Macbook Pro 17″ 2011 2.2 Ghz Quadcore i7 8Gb SSD, G5 Quadcore PCIe -
Sorry for the double post, thought I was editing. The bottom post has additional information.
Jim Wiseman
Sony PMW-EX1,Pana AJ-D810 DVCPro, DVX-100, Nikon D7000, Final Cut Studio 2 and 3, Media 100 Suite 2.1, Premiere Pro 5.0 and 5.5, AJA ioHD, AJA Kona LHi, Avid MC, Hexacore MacPro 3.33 Ghz 24Gb RAM 120GB SSD, Macbook Pro 17″ 2011 2.2 Ghz Quadcore i7 8Gb SSD, G5 Quadcore PCIe -
If it is for broadcast, you will definitely want to keep it in SMPTE specs. 16-235 YUV. 0-255 is an RGB computer space. You can work in it, but it must be tweaked for broadcast. Trust the YC scope if you do not have good monitoring. Don’t let any of the whites go above 100 IRE units, or any of the blacks go below zero. I would keep the blacks just above that. Then you should be alright. Some NTSC distribution cannot to drop below 7.5 units (setup) Digital is changing that spec in a lot of applications, though. You need to check with the quality control engineers of your distributor. You can use Curves or Proc Amp or several other effects in Premiere to control luminance. Fast Color Corrector is a good effect to control saturation and quick color balance problems. There are several good color correction tutorials on this forum and adobe.com
As far as what you are bringing in from Vegas, I don’t know that program. In fact, I am just beginning on Premiere Pro from Final Cut/Media 100 Suite/Avid. But color space and luminance issues remain the same on output.
It still sounds as if you are having a conversion problem between these spaces. Someone here or on the Vegas Forum may be able to help you. Good luck.
Jim Wiseman
Sony PMW-EX1,Pana AJ-D810 DVCPro, DVX-100, Nikon D7000, Final Cut Studio 2 and 3, Media 100 Suite 2.1, Premiere Pro 5.0 and 5.5, AJA ioHD, AJA Kona LHi, Avid MC, Hexacore MacPro 3.33 Ghz 24Gb RAM 120GB SSD, Macbook Pro 17″ 2011 2.2 Ghz Quadcore i7 8Gb SSD, G5 Quadcore PCIe -
If it is for broadcast, you will definitely want to keep it in SMPTE specs. 16-235 YUV. 0-255 is an RGB computer space. You can work in it, but it must be tweaked for broadcast. Trust the YC scope if you do not have good monitoring. Don’t let any of the whites go above 100 IRE units, or any of the blacks go below zero. I would keep the blacks just above that. Then you should be alright. You can use Curves or Proc Amp or several other effects in Premiere to control luminance. Fast Color Corrector is a good effect to control saturation and quick color balance problems. There are several good color correction tutorials on this forum and adobe.com
As far as what you are bringing in from Vegas, I don’t know that program. In fact, I am just beginning on Premiere Pro from Final Cut/Media 100 Suite/Avid. I’ve been doing color correction every day on Premiere Pro 5.5.2, and exporting ProResHQ clips. But color space and luminance issues remain the same on output.
It still sounds as if you are having a conversion problem between these programs/codecs spaces. Someone here or on the Vegas Forum may be able to help you further. Good luck.
Jim Wiseman
Sony PMW-EX1,Pana AJ-D810 DVCPro, DVX-100, Nikon D7000, Final Cut Studio 2 and 3, Media 100 Suite 2.1, Premiere Pro 5.0 and 5.5, AJA ioHD, AJA Kona LHi, Avid MC, Hexacore MacPro 3.33 Ghz 24Gb RAM 120GB SSD, Macbook Pro 17″ 2011 2.2 Ghz Quadcore i7 8Gb SSD, G5 Quadcore PCIe -
BTW, what is your final product destination? If it is for broadcast it will need to be at or below 100 IRE on the Premiere waveform. That is 235 in 8 bit YUV. 110 is 255. Anything above 100 is called superwhite. You can work in 0-255 RGB, but for broadcast it must be between 16-235. YouTube? Who cares? You can be loose around any non-brodcast distribution. Things are a little looser now with digital vs analog, but you will be rejected if your video is over 100 IRE to any great extent for broadcast high end cable/satellite. The 0-255 RGB range gives you the ability to favor the highlights or dark areas as is necessary for the aesthetics of your work. It does not mean it is broadcast legal. DVD, YouTube, other non-broadcast, doesn’t matter. I prefer to have all my video broadcast legal to begin with.
Jim Wiseman
Sony PMW-EX1,Pana AJ-D810 DVCPro, DVX-100, Nikon D7000, Final Cut Studio 2 and 3, Media 100 Suite 2.1, Premiere Pro 5.0 and 5.5, AJA ioHD, AJA Kona LHi, Avid MC, Hexacore MacPro 3.33 Ghz 24Gb RAM 120GB SSD, Macbook Pro 17″ 2011 2.2 Ghz Quadcore i7 8Gb SSD, G5 Quadcore PCIe -
BTW, Tom is right about external monitoring properly setup for video display, not a computer monitor. This will require an input/ouput card (I use AJA, many use BlackMagic, or Matrox) and an accurately setup video monitor, SDI or at least HDMI. BTW HDMI does not support PsF, you have to feed true progressive if that is your format. Many cameras, such as the EX-1, record PsF.
Jim Wiseman
Sony PMW-EX1,Pana AJ-D810 DVCPro, DVX-100, Nikon D7000, Final Cut Studio 2 and 3, Media 100 Suite 2.1, Premiere Pro 5.0 and 5.5, AJA ioHD, AJA Kona LHi, Avid MC, Hexacore MacPro 3.33 Ghz 24Gb RAM 120GB SSD, Macbook Pro 17″ 2011 2.2 Ghz Quadcore i7 8Gb SSD, G5 Quadcore PCIe -
I’ve been doing a lot of exports from Premiere Pro to Media 100 Suite. Premiere must be 0-255, as when I import to M100 I have to use the 0-255 color range or it becomes very contrasty when compressed into SMPTE space.That is Media 100’s standard as is Avid’s. Broadcast standard is actually SMPTE, 16-235. If you expand a SMPTE space into computer space it will look flat and washed out. If you do the reverse it will be very contrasty, as you are compressing the luminance information into a much smaller range, just as contrasty material is depicted in a histogram as being in a narrower range. I don’t know anything about Vegas, or it’s color space, so I can’t hazard a guess as to it’s native mode, but the description sounds like that is what is happening.
Jim Wiseman
Sony PMW-EX1,Pana AJ-D810 DVCPro, DVX-100, Nikon D7000, Final Cut Studio 2 and 3, Media 100 Suite 2.1, Premiere Pro 5.0 and 5.5, AJA ioHD, AJA Kona LHi, Avid MC, Hexacore MacPro 3.33 Ghz 24Gb RAM 120GB SSD, Macbook Pro 17″ 2011 2.2 Ghz Quadcore i7 8Gb SSD, G5 Quadcore PCIe -
Sounds like you have a computer 0-255 luminance space vs a SMPTE 16-235 space issue. Video is 16-235. One will look contrasty or flat when going from one to the other if compensation is not made on import.
Jim Wiseman
Sony PMW-EX1,Pana AJ-D810 DVCPro, DVX-100, Nikon D7000, Final Cut Studio 2 and 3, Media 100 Suite 2.1, Premiere Pro 5.0 and 5.5, AJA ioHD, AJA Kona LHi, Avid MC, Hexacore MacPro 3.33 Ghz 24Gb RAM 120GB SSD, Macbook Pro 17″ 2011 2.2 Ghz Quadcore i7 8Gb SSD, G5 Quadcore PCIe -
This may not be related, but 5.5 broke .mov Nikon D7000 support. (PLEASE fix this, don’t count on Nikon to do it) You might try 5.0 if you have it. I hope the Automatic Duck acquisition helps Premiere with Quicktime support. Premiere seems to not always be happy with QT, and it is of high importance to FCP users attempting the transition.
Jim Wiseman
Sony PMW-EX1,Pana AJ-D810 DVCPro, DVX-100, Nikon D7000, Final Cut Studio 2 and 3, Media 100 Suite 2.0.2, Premiere Pro 5.0 and 5.5, AJA ioHD, AJA Kona LHi, Avid MC, Hexacore MacPro 3.33 Ghz 24Gb RAM 120GB SSD, Macbook Pro 17″ 2011 2.2 Ghz Quadcore i7 8Gb SSD, G5 Quadcore PCIe -
Why don’t you try asking Boris? https://www.borisfx.com/ Their plug-ins work in Premiere and many others. Graffiti is probably very similar and might be able to import your subtitles. Phone is 888.772.6747 and their sales guys are very knowledgable.
Jim Wiseman
Sony PMW-EX1,Pana AJ-D810 DVCPro, DVX-100, Nikon D7000, Final Cut Studio 2 and 3, Media 100 Suite 2.0.2, Premiere Pro 5.0 and 5.5, AJA ioHD, AJA Kona LHi, Avid MC, Hexacore MacPro 3.33 Ghz 24Gb RAM 120GB SSD, Macbook Pro 17″ 2011 2.2 Ghz Quadcore i7 8Gb SSD, G5 Quadcore PCIe