[Tim Ward]

[Dave Klee] “are you using the same username and password to connect as the username and password that you need for the user account on System A”

No. I had created a second account for “System B.” I’d tried logging in using the “System A” account name before, but I think it may have connected through the other account. But today after reading your post, I just deleted the second account and used the “System A” account to connect and all seems well with permissions now. Would you need a real server to manage accounts and permissions?

Thanks Dave.

[Tim Ward]

[Matt Lyon] “Are you sure Photoshop is actually spitting out a perfectly linear ramp?”

Doh! Didn’t think of that. The problem was indeed in PS (caused by me)…with assistance from FCP. A TRUE gradient in PS is created with 0% smoothness, not 100% as it is set at default. Created a new ramp, exported .tif, imported in FCP, and after setting the gamma to 2.2 for the ramp, it became flat (Source chose 1.8). Great! I also used FCP’s ramp generator for comparison, sending it through PS and back again, it looked fine, but THIS .tif needed gamma set at 1.8/Source. Why? Good question. Possibly because of the way PS interpreted it upon opening it. Comparisons within PS did show a difference between the two.

Ultimately, the reason I started this whole thing was to make sure I was correctly interpreting graphics used within FCP.

Thanks a lot for the help, Matt!

[Tim Ward]

Thanks for the reply Matt, but I think we’re talking a bit of apples and oranges here.

[Matt Lyon] “Can you elaborate more on what you mean by “it displays incorrectly”?”

Sorry, I didn’t write that clear enough. I’m referring to the ramp I create in PS, then import into FCP. The ramp should be completely straight. Interpreting as “Source” or “1.8” gamma brings the waveform closest to correct.

[Matt Lyon] “Also, have you tried setting your system to be fully 2.2 gamma. You may get more predictable results: Set your display’s gamma to 2.2 in the control panel. Set Photoshop to work in sRGB color space, and embed your images with the same.”

That will only affect how my computer display looks. The Preview and Canvas displays don’t tell me how it will look on a video display – they are only approximations. Yes, I work in sRGB since viewing it in PS approximates how it’s viewed in video, but FCP doesn’t read color profiles. Using TIFFs, Adobe RGB, sRGB, and no profile embedded show the EXACT SAME waveform (as above), and they wouldn’t if FCP used the profiles.

I’ve re-created this on my home system with the same specs as above, except it’s a Mac Pro 1,1 with QT 7.6.4. Hardware scopes on both systems read the same as the image above. I don’t really care if the Canvas gamma is off – I DO care if it is off where it matters: on my video outputs.

[Tim Ward]

Removing the legacy AJA uncompressed codec, that is.

[Tim Ward]

This seems to be the resolution:

https://forums.creativecow.net/thread/8/1017959

[Tim Ward]

Also, Semicolon and Apostrophe select Previous Edit Point and Next Edit Point.

[Tim Ward]

Here’s one reason aimed at IT guys:
https://arstechnica.com/apple/news/2010/03/survey-macs-cost-notably-less-to-support-than-windows-pcs.ars

Also, “proprietary” usually equals “very stable.” Mac Pros can be upgraded as much as HP XW or Z workstations can. And they are much less likely to pickup malware and viruses.

[Tim Ward]

[Rafael Amador] “By any chance do you have the monitoring set to 8b instead of 10B?”

It’s 10-bit. Plus, the problem is reflected in the Canvas and video out. I’m puzzled. 8-bit works, and looks okay, so I’m going with that. I may just go back to using Uncompressed D1 instead. Thanks for your thoughts. And it’s good to know the old CC is only 8-bit!

[Tim Ward]

[Toby Dye] “I’d like some advice on the most suitable codecs to use to ensure the best quality”

ProRes, DV50, Uncompressed.

[Tim Ward]

[Rafael Amador] “I don’t understand all that messing around with the render setting.
You are using 10b stuff in a 10 sequence, by default should be processed at 32b (10b, High precision) .”

It does not render correctly when set to render 10-bit in high-precision with 2 3-way CCs stacked on D1 ProRes HQ.

“You can not render in 8b YUV or RGB, neither use filters like the CC (no 3W) that renders in 8b only.”

I’m not sure if it actually renders it in 8-bit or not, but there are no problems with it set to 8-bit.

“If you are monitoring in a computer screen, you are lost because you have only 8b.”

Broadcast monitor with scopes.