[Norman Black]

[Bob Moyer] “For the BEST results, should this be rendered as”

BEST is a variable term with little meaning.
Your eyes are always the BEST and true judge of quality.

Higher bitrate gives higher quality but it does not make any sense to go to higher bitrates than your source material. A bitrate comparison only works if your source and output are the same codec. AVC to AVC. It’s more complicated otherwise.

You can use Sony AVC and customize the template to a higher bitrate than the 16Mbps in the predefined template. Sony AVC is capped at 26Mbps.

if a higher bitrate is not too big for the disc then why not use it. Within reason and Blu-ray spec limitations of course.

[Norman Black]

You need to report this problem to Sony. They probably need to tweak their sign in mechanism. Youtube is a big enough feature that Sony will want to fix their issue(s).

Youtube and Google+ are Google’s products and if the rest of the world wants to work with them it is those other products to detect and adjust to how Google allows those actions to function. Youtube is not going to contact Sony development and say, hey we here your product has issues uploaded, how can we help. This assumes one knows how to “contact Sony”.

[Norman Black]

I can confirm that this seems to be a bug in VP12 HSL adjust. I downloaded a VP11 trial and tried the one position in a clip I have.

In VP11, HSL adjust and color corrector are the same. Both good in highs and everywhere else. In VP12 the highs get clipped and posterized.

I have not yet isolated if this is a GPU implementation bug as yet. I am going to put together a whittled project to send to Sony that demonstrates this problem.

EDIT: It appears to be a bug in the VP12 GPU algorithm. CPU only in video prefs and all is fine. VP11 is fine GPU on or off.

EDIT: EDIT: I submitted a bug report to Sony with an example VEG file.

[Norman Black]

Of course the effect description will not change. All that description is telling you is what modes the effect can operate in.

It is assumed that all effects work with 8-bit data so it never says anything about that. If an effect can work in 32-bit floating mode it will say so. If is can work with GPU accel it will say so.

If your project is 32-bit and you are using the effect then of course you are using the 32-bit floating implementation of the effect.

[Norman Black]

[Stephen Crye] “The HSL effect in SVP12 *seemed* to initially be a GPU accelerated; not sure how to tell by inspection which version was in the chain.”

HSL Adjust is one of the GPU accelerated effects. GPU accelerated effects are in the GPU accelerated folder in the Video Fx pane, and/or when the effect is selected in the list you can see its properties listed at the bottom of the pane where the presets are listed.

If GPU is enabled in your video prefs AND the effect is GPU enabled then GPU is used.

I don’t have any VP11 to VP12 setup to compare. I have typically used color corrector to adjust saturation and I compared color corrector against HSL adjust. I did notice a significant difference between the two is a very bright area (light colored ground). The HSL adjust clipped out and lost detail and color corrector was very smooth. Actually in this case it looks like the effect was rolled off in the extreme highs. They both had about the same effect in the mids. The same value, 1.15, seemed to give about the same effect.

From that little test, I will personally stick with color corrector. Maybe color corrector can give you what you want.

If you have a project, you can setup to show the difference from VP11 to VP12, then send that project in to Sony support. Maybe there is a bug. Since video files are so big you would be best have to whittle down to minimal clip to demo.

[Norman Black]

[Alvin Down] “Is there a reason why MediaFx is different than VideoEventFx?, like what’s the difference?”

[Norman Black] “The Sony Timecode effect time depends on what it is placed on.
Event – you get the event time code. Starts at 0
Media – the media timecode. if media does not have a timecode then starts at zero.
Track – you get project time.”

[Norman Black]

[Steve Rhoden] “Or you can try using the included add timecode to media script.”

That does add a timecode effect to all media. You still have to enter a custom timecode for each media and if you have edits the timecode will not move continuous. The edits will cause jumps in time.

[Norman Black]

Sorry, my bad in my instructions. When you add the effect you must add it as a MediaFx effect so that your entered media timecode will be used.

Also when you add a generated media event it will start out a certain length. Extending the event on the timeline will not extend the length of the generated media. You need that so the timecode keeps increasing the whole length. Depending on option it may loop or just show the last frame.

You want the generated event to be the length of the event on the timeline so click the match event length button in the upper right of the effects pane window.

If you do not have any edits on the media you can just put a MediaFx on your media and enter a custom timecode for the media.

[Norman Black]

The Sony Timecode effect time depends on what it is placed on.
Event – you get the event time code. Starts at 0
Media – the media timecode. if media does not have a timecode then starts at zero.
Track – you get project time.

If you want a custom time then you can create a solid color media event, set the color to transparent, add the timecode effect to the event. Put this even on a track above your video. Right click the media properties and change the media timecode to the value you want. It will count up from there.

[Norman Black]

[Walter Blan] “my plan was to use the VGA output on my computer and use a VGA-HDMI converter”

Worth a try if your PC does not have HDMI or Displayport output.

[Walter Blan] “Considering the encodes and ‘full range’, I am really not sure what you mean by this. Is this something essential? How exactly do I make sure my levels are good?”

Canon DSLRs output data full range, 0-255. Encodes expect studio swing data range, 16-235. Most media players will expand the data they receive from 16-235 to 0-255. What this means is that your contrast is increased and the blacks and highs get clipped. You may like this. You may not. We get a lot of forum complaints about crushed blacks and this is the source. You get around this by making sure your data in Vegas conforms to the studio RGB range.

You can look at the waveform videoscope to verify your data is within limits. Take an area with good darks, bring up the videoscope, make sure the studio 16-235 video scope option is checked, and if anything goes below zero or above 100 your source data is outside the studio range.

Using a sony levels with the computer to studio RGB preset will correct this.