[Rivai Chen]

Thanks for replying Martin, that’s certainly one way to tackle this problem temporary..

We ended up doing it reel by reel in each project. The ref is grab from gallery

No reply from Davinci, i wonder if they saw this thread. I know there’re other users who complain the same thing. If that was the limitation in free Davinci Lite, i cant complain. But we are using fully license Davinci..i hope it performed better

Next version, i dont want to see this anymore, i hope

Rivai

[Rivai Chen]

Everything works except dSLR timeline, it failed to output analog output. Other mode is totally fine..

The selected preset is blackmagic dslr 1080P 25, the hdmi output is working fine. But no display on pal analog output. Downconversion in output processing blackmagic control panel is selected.

I tried on blackmagic decklink extreme, same result. Dslr timeline no good on analog output. Is this supposed to work ? Or not ?

Thanks
Rivai

[Rivai Chen]

Hi Guys

Since this is related FCP to AE question. I know plugin like automatic duck can import FCP timeline to AE with ease. But the question is how do you swap an offline data conform by FCP to AE using whatever plugin to Online version data, which tends to have shorter clip and higher resolution. AE doesnt read timecode. I just asked, automatic duck aware that this could be a problem and needed to eye match.

Is there any workaround apart from eye matching ? If the timeline is short is alright, but if it’s long, it can be a tedious task to eye match everything.

RV

[Rivai Chen]

Which is exactly half complete and people forget there’s a deep pixel precision.

[Rivai Chen]

Hi Rafael,

Yeah agree, the most important note from David Taylor is the calculation between YUV and RGB in FCP is done thru floating point calculation. That’s the key. As long your incoming and destination format can handle this, it should be alright. This is ensuring enough. I still have no idea why this is not documented. Sometimes, we just need to ask developers about the factual data. There’s other misleading or half complete information spreading around that QT for windows is always 8 bit and designed that way which of course not the case. I heard such false assumption from other people who supposed to be pro. The point is sometimes we have to do a lot of check and asking around to seek such information, it will be so much easier it’s documented properly.

Anyway, at least i got the answer 🙂

Rivai

[Rivai Chen]

Doesnt matter anymore. The decision has been made yesterday.

Thanks Kristian

Rivai

[Rivai Chen]

Hi gary

I dont understand what you’re really saying. FCP can only set to high-precision YUV or RGB 8 bit. That part is true but you claimed it as not true.

If via hardware, i know AJA KONA 3 delivers RGB 10bit codec. For smoke, we are working with internal dpx file. But this is FCP that we’re discussing here. i find there’s no way to have such setting RGB 10bit even if you have the AJA hardware.

So what suggested hardware and setting are you proposing in Final Cut ?

The original content is comes from RED 12bit linear and it’s RAW. If you convert the RAW at highend format say Cineform. I would like very much to maintain it until the final export to DPX via gluetools.

Here’s the answer i just got from David Taylor Cineform :
The underlying answer is a bit complicated, and I’d rather not write an essay, but FCP can render in deep precision if the underlying (de)compressor supports a certain floating-point 444 YUV pixel format called R4FL. As you may know you can convert losslessly between YUV 444 and RGB if you use floating-point math. So FCP requests floating-point YUV 444 from CineForm compression (even though we store RGB), so we perform the conversion from our 12-bit RGB format to floating-point YUV before handing the requested data to FCP. So there is some color transformation going on, but it uses floating point math, and that is how FCP maintains deep precision. The destination for the floating-point 444 YUV must of course be able to handle that format as its source (which CineForm does). If any link in the chain can’t handle FP then the whole chain drops back to 8 bit. In our experience few workflows through FCP are greater than 8 bits, but CineForm maintains deep precision throughout.

Rivai

[Rivai Chen]

Is this YUV or RGB ?

[Rivai Chen]

Yeah exactly those that bothers me. RGB 8 bit from video processing tab! 10 bit is the minimum that should have. I’m using version 6, not sure if FCP 7 is going to be different. I assume not.

[Rivai Chen]

Hi Jerry

Thanks for clearing up the prores stuff. But the question is about 444 RGB codec say Cineform 444 or animation, where you are not working in YUV space. How does this affect the final render. FCP cant handle 444 RGB 10bit. So if you have such codec and would like to maintain until final render (say to DPX), is this impossible ?

If not, having AJA or blackmagic hardware, does it help at all ?

Thanks