[Tim Ward]

[Chris Borjis] “32-bit has never worked for me but 10-bit always works.”

Both “10-bit” and “All” settings render in 32-bit float. Curious you’ve had different outcomes. Perhaps it’s codec-related?

I just copied the entire sequence into a 10-bit sequence with 32-bit render settings and got the same problem (#1) with the old CC. Using 2 3-way CCs stacked did not exhibit problem #2 and worked fine. And now that I started really digging into it, it’s getting more and more weird.

I’m not going to post anymore while this web is still untangling. For example: I’m getting an orange bar on one clip with only one 3-way CC and one 3-way CC w/limit. Yet, I have another clip with the same (1 3-way, 1 w/limit), add a motion effect (P&S this 16:9 clip into 4:3), speed it up, and stack 3 more 3-way CCs w/limit on it before it turns orange–both D1 ProRes HQ in D1 ProRes HQ sequence!

I will just render in 8-bit and call it a day.

[Tim Ward]

[Chris Borjis] “why not render it in 10-bit? that should work perfectly fine.”

Are you talking about “Render 10-bit material in high precision YUV?” That exhibits the same problem. Any high-precision YUV renders come out bad.

[Chris Borjis] “And why not use the 3-way cc to adjust your luma?”

I do. I was using the old CC to legalize the color on some clips (I guess I was thinking it’d be easier on the computer?). After the render problems popped up, I replaced it with the CC 3-way, but got the same results.

[Tim Ward]

I’ve gotten swamped and haven’t been able to do what I need to do to get to the bottom of this, but I started my render tests over (since I can’t remember exactly what methods I did a couple months ago). Codecs involved are DV25, DVCPRO50, ProRes D1, 8/10-bit Uncompressed D1. I’ll report back soon with additional information and results.

Tim

[Tim Ward]

Oh, I just want the super-whites because it gives me more to play with. They don’t go out for broadcast that way!

I’ve read that Adobe article before, but it hasn’t really helped me (my brain may just be mush). the legacy Quicktime option doesn’t make it any better. The gamma on the AE-rendered video still won’t match the gamma of the FCP video, as shown on my WFM. I’ve done round-trip tests with the Black/White ramp generator in FCP, and can never get them to match up without applying a Curves filter in AE to compensate.

[Tim Ward]

Thanks for the responses, guys! I’m going to look into the Gelly Rolls – that looks like it’d work well for me.

Tim

[Tim Ward]

Brightness and contrast should generally be set with color bars, the same way you set your production monitor. Step by step instructions for that can be found all over the web. Peaking can help with focusing, and should be adjusted to your own preference.

[Tim Ward]

**BUMP**

I’m having the same issue. No solutions?

CS3
Mac Pro 2008
10GB
2 x 2.8 Quad-core

[Tim Ward]

Thanks John.

[Tim Ward]

Hi John,

What lens (or lenses) do you use with the 500?

[Tim Ward]

[Jan Crittenden Livingston] “The AG-HPX500 uses a 620,000 pixel 2/3″ imager. That combined with the spatial offset offers a picture that is very close to wat a 1.1 million pixel imager might offer.

The HVX200 imager is a 520,000 pixel imager. Not sure how every one has the wrong pixel count for the HPX500 but it has been quoted on and off the internet right from the get go.”

I stand corrected. Thanks Jan.

I found that information while researching the HPX500 a while back. Don’t remember where–third party I’m sure, since Panasonic didn’t have it on the main site.