[Avid-L2] Was: DNxHD QuckTime FCP Import Question--Now RGB vs 709 for non-video output

So Oliver; why remap to 709? If the goal is to import and export through Avid as transparently as possible, why not choose 709 in and out? The previous thread about QT import points out that this avoids the remapping, which must have some effect on the image.

And this is part of a bigger question that came up last morning. I sat down with the producer of a documentary to hash out workflow. Documentary feature, to be shot primarily on Canon 7D, edit on Symphony DX using DNxHD 175X, probable film out.

The Canon records RGB levels. If we import footage flagged as 709, edit & grade in the Avid, and export as 709 to a file (or image sequence) for film out, would we be retaining more bit depth in the image?

In other words, we'd be grading with a full 1024 steps instead of just 876 (do I have the 10-bit math right for 7.5-100 IRE?).

For any video output, we could just drop a color correction effect on a top track with a curve to squeeze levels to 709.

Now that I think about it, perhaps uncompressed HD would have much more effect than getting 16% more range. How much further can uncompressed footage be pushed compared to DNxHD 175X footage? Any colorists who have an opinion?

This may be moot; all the HD-to-film quotes I've seen specify 709 levels. But I've never seen the question asked: doesn't working in Avid w/ a full 0-110 IRE from RGB footage essentially give you slightly more range?

--- In Avid-L2@yahoogroups.com, "oliverpetersvidy" <oliverpeters@...> wrote:
>
> I did some testing today with taking files from Canon 5D to Avid to FCP. Seems to be applicable to this thread as well. Mainly in terms of the levels issues I hit. I posted results on my blog:
>
> http://digitalfilms.wordpress.com/2010/02/21/canon-5d-avid-fcp-roundtrip/
>
> - Oliver
>

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