Michael Phillips
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COW Coin
Forum Replies Created
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https://www.videotoolshed.com/product/42/qtchange
You can use this to at least embed the timecode into the file to ensure it remains persistent and consistent.
Michael
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Exactly – rather than have some of the details in the shadows highlights be lost at time of capture, the CineStyle LUT (or any of these camera LUTS that are tuned to their sensors) retain as much as they can. Depending on the LUT you apply in Post, you can have it go to Rec.709, or something else. Applying a CineStyle->Rec.709 LUT for example will make it 16-235 – this may be fine for quick correction and for editing in dailies, but most of the time, the LUT is removed during the color correction phase to allow the colorist to selectively preserve detail in shadow and highlights as they see fit rather than a one size fits all. It’s about control of the image. Sort of like the difference between using the default settings of a Effect template and going in and making it unique.
Most workflows will apply the LUT for dailies, then remove it for color correction.
6483_5dcinestyledavinciresolve33.cube.zip
The link should download a LUT I created for CineStyle in Resolve but can also be used in MC V7.
Michael
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At this point, I would look to whatever settings are in the camera for contrast, etc. and whether this is using a CineStye LUT can that can squeeze more dynamic range by lifting blacks, etc. This is not a bad thing, you can correct in color correction by clicking the auto-black – or via AMA, go to source settings and set “expand range” to see where that black level ends up.
I did a full test on the DVX100 when it came out years ago on the relationship between pedestal setting and where that ended up on the IRE/RGB scale so that users would know where to best set it for their needs. I guess a similar thing could be done for the DSLR world and its settings that affect overall image.
Michael
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Importing it at 601/709 should just bring it in with nothing changing in the file itself. It is interesting that there is clipping at 16 and 235 which may have been done in camera. What value do you get if you shoot a few seconds with the lens cap on? 0, 16, other?
Michael
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It might be if there are two or more graphic cards.
Michael
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You need to go to your Import settings (not AMA) and make sure you set alpha to none. This will be addressed in an update to at least be in the AMA settings, and not import…
Michael
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Have you opened “Full Screen” in settings, drag it to the monitor you want to use as “full screen”, then click the “select this monitor. In the command palette (ctrl-3) is a button for “full screen” Looks like a square with the four arrows pointing to each corner or something like that. Map that to the timeline or under the monitors. Back in edit mode, click that button. Picture will appear full screen on that monitor. Just leave it up when editing. I will switch to active monitor. You may have to repeat this step each time you launch Media Composer. There may be a keyboard equivalent for full screen, but I don’t remember one at this time.
Michael
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Well this is where things get interesting. As far as source settings I would leave it as “do nothing”. What you see is what you get and deal with it in color correction. Setting it to “graphic levels” will expand the levels most likely clipping blacks and whites that were between 0-15 and 236-255. If you knew you were going to prepare for broadcast, and you had full range levels, then you would select “video levels” ensuring that whatever black levels between 0-15 become 16+ and same for 236-255 become 235-.
There is a school of thought that since everything inside Media Composer is assumed to be video levels, and that is stuff like Avid black in timeline, title tool, paint, etc. will all be 16-235 range. So many people will work as though it were for broadcast, then when delivering to the web, will export out as RGB levels expanding 16-235 to 0-255.
Michael
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Take a read through Job’s excellent whitepaper on the subject of levels and Import/Export choices:
https://www.jobterburg.nl/Publications/601_709_RGB.pdfYou can also look to AMA linking which gives you an addition choice when going to source settings.
What version of software?
What is your primary deliverable? web or broadcast television?Michael
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PluralEyes should’t be affecting QT reference export as it only changes the relationship of the sources. I have recently noticed that a sequence starting with an imported still had some problems in some applications when exported as QT reference. Might be an issue.
Michael