[Joseph Barnett]

Hi JC,

Thanks for your response. I think your right i can’t find anything on the BFS scale. They are requesting -10 to -20 on one set and -20 to -30 on another. The Chinese producer here seems to think its probably the case, so fingers crossed. Thanks again for your quick reply.

Joseph

http://www.Ghost.dk

[Joseph Barnett]

Hi Guys,

I would like to apologize for my silence i had an accident which resulted in blood on the brain and a nasty concussion /contusion, so ive been out of action for a while. I am now back on my feet and at work once more so i shall re-investigate my claims and as advised i shall re-post on the Kona forum. Thanks for your interest and input i’m always pleasantly surprised how generous and helpful these forums are.

Joseph

http://www.Ghost.dk

[Joseph Barnett]

Okay i have a near seamless workflow. If i use CS4 adobe media encoder i can get a nearly a perfect match. I’m assuming that this is because the media encoder is referencing the Aja card so therefore a hardware conversion. Either way it works and i managed to get our flint guy create an ouput and they are both exactly the same (using a difference matte you can see a tiny shift).

Another thing i came across is FCP use of ‘NONE’. When i imported a none qt of the same media it appeared brighter and the scopes shifted accordingly. Where as the gluetools dpx import seemed to be accurate. But if use the same workflow i used before in adobe media encoder but use a ‘NONE’ qt instead of DPX frames i still get exactly the same conversion of the 10bit. So the interpretation of the ‘NONE’ file in FCP is incorrect. I’m getting the feeling that FCP really wants to work in a YUV space.

Thanks again,

Joe

http://www.guiltybynature.com

[Joseph Barnett]

Thanks for the input guys,

Ive been testing all morning with different options, I’m still yet to achieve a accurate conversion.

‘When we render out an AJA v210 quicktime out of QTPro or Adobe media encoder, there’s an option to render CGR or SMPTE. When we render SMPTE there’s no gamma shift”

I only have options for AJA RGB in both FCP and Adobe media encoder. though interestingly if use the apple 10bit uncompressed it is far closer than FCP’s attempts.

I will report back if i find the magic formula. I’m also looking at FFMPEG as an option.

Thanks again

Joe

http://www.guiltybynature.com

[Joseph Barnett]

Hi guys,

Thanks again, they are really helpful comments.

Joe

http://www.guiltybynature.com

[Joseph Barnett]

Hi Guys,

Thanks for the responses it’s really helpful. We are based in Denmark and create mainly 3D and special effects, however we also offer Grading and editing so more and more we are the last link in the chain. What I’m wondering is our audio masters come in from many different sound companies, is this loudness spec something that they would have implemented already? if so is it relative to the max peak, so if i normalize to say -12dbfs then the loudness should be correct.

We currently use Autodesk Smoke and FCP to deliver our masters. Would you advise any additional software/hardware to ensure correct delivery. Thanks again guys any advice or info you have would be great.

Joseph

http://www.guiltybynature.com

[Joseph Barnett]

Hi Josh,

Thanks for your reply. My thinking has been a little titled on this one so i tried my tests again. Im working with a 1K image it is natively 1024×576 not anamorphic. I can see where i stumbled before as my 1.66.1 eu standard is much more closer to the fcp one. it is still ever so slightly different though. The compressor seems to stretch it verticaly and crop ever so slightly. Im interested how you letterbox in FCP, currently i create a Pal time line and drop my 1K image straight in. the result is that it automatically scales the sequences to 75% with a 6.67 aspect distortion. I don’t normally apply the widescreen filter but if i do drop the effect on and switch it to 1.66.1 it crops ever so slightly at the top and bottom. Which still leaves me with a slight difference from the compressor 1.66.1 version. Thanks for all your feedback.

Joseph

http://www.guiltybynature.com

[Joseph Barnett]

Hi Josh,

Thanks for your response, sorry ive been away for a week. Yes I agree, compressor is definitely superior it seems to be far superior for resizing and deinterlacing and is fast becoming my new friend. What im struggling to get my head around though is I figured that if you letterbox a 16×9 image it would fit to width and the black bars would fill the void. Unless my thinking is wrong then any other interpretation is distorting the image. Why is it that fcp distorts at 6.67, my only concern is that this method is by the manual, which makes me question the compressor outputs. Saying that if i size the file manually to fit in the fcp timeline without the file – distort of 6.67 it is exactly the same size as the compressor output.

– So it’s a question of which one is correct?
– im also intrigued if anyone knows about this distort ratio of 6.67 ? (i swear ive seen this number before in post production)

Im going to do some tests with our smoke artist tomorrow and see what his letterbox ouput generates, will report back.

Joseph

http://www.guiltybynature.com

[Joseph Barnett]

Hi Jeremy,

Thanks for the response, very helpful. Im pretty sure the we are set to full frame but the second option is one stone I haven’t turned over yet. Just lost my suite to an external client and editor but will check at lunch and report back.

Thanks again,

Joe

http://www.guiltybynature.com

[Joseph Barnett]

Hi Jerry,

Thanks that’s really helpful, that’s the sort of thing i was after.

Thanks again,

joe