[Juan Juig]

Does anyone know the solution? It would be very helpful.

[Juan Juig]

Thank you for the replies. Of course I created the synced subclips. I just wanted to keep the in points in original clips just in case. Guess I’ll clear them.

Cheers

[Juan Juig]

I’ve done the test you mentioned and got the results that you predicted.

According to this post: https://community.avid.com/forums/p/197150/882571.aspx#882571

“[…] Timeline quality setting is not affecting render/mixdown quality.

[…] the processing is actually 16 bits. So, when working with 10 or 12 bits media, the processing is 16 bits.

With 2019.6 coming soon, we are introducing floating point, in this case precision is 32 bits (float)”

So are both of the statements entirely correct? Are they also correct for all the previous versions of Avid? Was it always a fact that timeline quality setting is not affecting render/mixdown quality or is this something that was done later?

[Juan Juig]

What happens if you export those images? Do they look the same outside of Avid? Which software are you using to watch then outside of Avid?

If you go to Settings –> Full Screen Playback Settings –> Display Colour Space, what is it set to?

[Juan Juig]

Hey Marc, thank you for your reply!

So far I had no problems with files that I have exported in terms of quality check when sending them to TV companies for example.

Would you say that the bitrate of DNxHD 185x is high enough for an archive master file? I’m thinking of also creating DNxHR 444 from now on.

Cheers

[Juan Juig]

Hi, thnak you for your reply.

“Although ProRes is a VBR codec, the variability is usually small. The
actual data rate is usually close to the target data rate. For a given
ProRes format, there is also a maximum number of bits per frame that is
never exceeded. This maximum is approximately 10 percent more than
the target number of bits per frame.”

This is what I found in connection with ProRes codecs in Apple’s ProRes codec guide. Even though the target bitrate stays the same, the maximum bitrate does seem to increase where that is necessary.

I would really appreciate answers to my questions that I posted originally.

[Juan Juig]

Interesting. But Same as Source option doesn’t use the legacy QT for its export and is therefore not dangereous to produce gamma shift?

[Juan Juig]

Thank you both for replying.

The DNxHD 36 part was plain white titles on black bacground that I received from another person using another software. Since I presumed it wouldn’t make that much of a difference if it were exported at much higher bitrate, because there were only white black and some grey pixels I didn’t ask for a better export. Will do in the future however! I am perfectly aware that exporting something of a lower quality to a file with higher quality will not improve its quality.

I have heard of this issue before, but when I decided to export with custom settings for practical reasons, I always checked the exports in different softwares and didn’t notice any significant change besides compression.

So, the best option for final export for the archive of a project would definitely be to do a video mixdown of an entire sequence to a wished DNxHD or DNxHR codec and then export Same as Source, which would NOT result in a gamma shift? Would exporting in MXF OP1A with the wished DNxHD or DNxHR codec also be a good or perhaps better option?

And if you perhaps also know about the exports from Premiere Pro and Davinci Resolve? Is Quicktime DNxHD/DNxHR also sometimes problematic from those softwares in terms of gamma shift? If that is the case, what would produce the same wished result? MXF OP1A DNxHD/DNxHR? Prores is not an option for me most of the time, because I do the wast majority of my editing on Windows computers.

Thank you for taking the time for replying. Really appreciate it!

[Juan Juig]

Great, thank you!

[Juan Juig]

Thank you for the reply Pat.

I’m a bit confused now, because I got 2 different answers about the question about a file that is exported with different codecs on timeline as Same as Source. Shane said it was impossible for an exported file to contain multiple codecs, while you say that this is the way Avid SAS export works. Do you perhaps have an external link in which this is verified for sure?

“Selecting custom codec and then choosing a DNX codec in the QT option is a real no no due to gamma shift issues.”
Could you please elaborate on that? Are you saying that if you have for example a clip with Prores 4444 (that was brought in with source browser) and Custom export it to DNxHD 185x it will result in gamma shift? I just recently had that situation and when I compared the exported file in to the original Prores grade in Avid Media Composer, Davinci Resolve and VLC Player I didn’t notice the any gamma shift, the only difference was slight compression that was visible on the Y waveform but nut with the bare eyes.

Do you think that Custom export as DNxHD 185x should never be used if the gamma shift is a posibility? Could the gamma shift also happen with a clip in timeline that was transcoded to DNxHD 185x in the import process and is them Custom exported to DNxHD 185x?