Not sure that argument holds up.
Where do people watch 10bit 4:2:2?
It ain't at home over direct tv or digital cable on their 8 bit LCD panel tvs.
Think the point is keeping your intermediate workflow clean and pristine for as long as possible. If you can wait until mastering or distribution to dumb things down then perhaps you have minimized damage or preserved some quality.
Chris Magid
RTVF
On Apr 24, 2011, at 8:27 AM, "Terence Curren" <tcurren@aol.com> wrote:
> And where exactly do they show their finished product at 10 bit RGB 4:4:4?
>
> --- In Avid-L2@yahoogroups.com, "Fabrice Altman" <fabricealtman@...> wrote:
> >
> > I'll have to disagree on this. My issue is that 4:2:2 has been designed
> > around live action. With graphics, it's impact is visible to the naked eye in some circumstances.
> > Higher end clients or low budget ones, a corporate logo is their baby, that's what they care about, and not really the "2K, 4K, 4:4:4" bit.
> > With file based workflows, they can now be really picky about pixels...
> >
> >
> > --- In Avid-L2@yahoogroups.com, "Terence Curren" <tcurren@> wrote:
> > >
> > > I wish! The reality is that the higher end clients know they are fine with 4:2:2 DNxHD. It's always the really low budget guys who have to do "2K, 4K, 4:4:4 because that's the best!" even though it will be lucky to get a DVD release...
> > >
> >
>
>
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