Saturday, December 17, 2011

[Avid-L2] Artist Color on a ethernet switch for MBP?

 

Just starting to explore the best way to hook up the artist color panel to a MBP.  I read about selecting 1 of the 2 ethernet ports on a Mac Pro but on the MBP there is only one port.  Is it okay to plug the artist color into an ethernet switch and hook the MBP to the switch and also hook the switch to a network connection for internet and other access?  I'm not concerned with an Isis environment for now.  I think that's how it works.  At the Avid event in Hollywood there was an MBP with the panel straight into the MBP ethernet but it wasn't working at the time I was there.  I've read that the panel is usually run in DCHP and not a fixed address.  Will the EuCon software automatically seek out the devices on a given network and display them.  That's what I'm reading but I don't have the hardware setup yet.  I have to wait for Santa Avid to come before I can start plugging things in to test.

John Moore

Barking Trout Productions

Studio City, CA

bigfish@pacbell.net

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Re: [Avid-L2] v.6 - changes to 'enter' key, text handling - THIS NEEDS TO GET FIXED

 

This not good! Hence, the all caps scream in the subject line.

Sigh. Why does every software release break little stuff you use all the time?

Shirley

-----Original Message-----
From: Michael Brockington <brocking@sfu.ca>
To: Avid-L2 <Avid-L2@yahoogroups.com>
Sent: Sat, Dec 17, 2011 7:40 am
Subject: Re: [Avid-L2] v.6 - changes to 'enter' key, text handling

Another aggravating little change -- no 'undo' when typing in bin text
columns.

Particularly annoying when combined with the new numeric 'enter' key
behaviour.

Let's say you've entered a new clip name, now hit the numeric enter key,
thinking it will save and deselect the text, then hit L-key to play
forward. Result in v.6 is the next clip in the bin is now named 'l',
with no easy way to undo the un-intended change and get the original
clip name back.

Cheers,
--Michael

On 11-12-15 11:08 AM, Michael Brockington wrote:
>
> I've just upgraded to MC v.6 on Mac (10.6.8) and am noticing a few small
> but unwelcome changes/bugs.
>
> Most annoying right now is a change in the locator/marker window. When
> entering marker descriptions, in earlier versions the Enter/Return key
> on the keyboard would add a newline in the text window, while the
> Enter/Return key on the numeric keypad would OK any changes and close
> the Locator/Marker window.
>
> With v.6 the Enter/Return key has the same effect on the regular
> keyboard and the numeric keypad -- it just adds a newline. So there now
> appears to be no keyboard-based way to dismiss this window -- always
> have to use the mouse to click OK/Cancel. Much slower to mark up
> footage having to switch to the mouse all the time.
>
> Something similiar has changed with text in bin columns - both
> Enter/Return keys have the same function -- going to the next clip and
> highlighting text for changes. Whereas in earlier versions the numeric
> keypad Enter/Return would OK changes to the current text field, and
> deselect it, allowing use of normal keyboard commands afterwards without
> going to the mouse.
>
> Another small thing: with text in bin columns, double-clicking a word no
> longer selects the entire word. Also after highlighting text, the left
> and right arrow keys no longer seem to take the insertion point to the
> start/end of the text as would be consistent with Mac interface.
>
> Typing text that exceeds column width used to be handled better -- now
> you can't see what you're typing until you save the bin, if you exceed
> the column width.
>
> Transition to full-screen display now often leaves the screen black
> until footage is played or advanced.
>
> Assigned clip colours in bins don't show up with AMA clips. (This made
> sense in previous versions since clips were always highlighted yellow,
> but now they have a different icon, why can't they be assigned colours?
> I guess this is more a feature request than a bug.)
>
> Software copes poorly with dual monitors that are different sizes --
> leaving some windows entirely offscreen in their home positions.
>
> Can others confirm these issues? Or are some due to being on 10.6.8
> instead of Lion? I imagine some are on the list of a hundred bugfixes...
>
> Thanks,
> --Michael
>
>

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Re: [Avid-L2] Re: Deauthorizing? NOW FEATURE REQUEST

 

Interesting that I just upgraded to a new hard drive in my older laptop using carbon cloner. I neglected to deactivate MC 4 first. After swapping out the drives, the old app opened and ran fine. I had even changed the name of the boot drive. Dodged a bullet, I guess.

The upgrade to 5.5 and 6 was alot more work, as M&M knows,..

Avid has several licensing schemes out there right now due to the rapid advance of 5/5.5/6. Naturally, it will take some time to sort out.

Probably just in time for icloud delivery of apps on demand - to our mobile devices.

Sent via iPad Nano

On Dec 17, 2011, at 11:11 AM, "Marianna" <marianna.montague@avid.com> wrote:

> SS and PF are option which have there own serial #'s so if you wish to move to another computer then yes you would need to deactivate then activate them as well. With MC 6 there is a new unified licensing so if you have SS or PF on 5.5 don't deactivate - launch MC 6 and the Avid license control will port your activations over.
> Dongle - I hear you. But since licensing is the future... it most likely wont happen.
> Marianna
>
> --- In Avid-L2@yahoogroups.com, "Tony Breuer" <tonybreuer@...> wrote:
> >
> > You have to de-authorize PhraseFind. I'm not sure about ScriptSync but I would assume that you do have to de-authorize that as well.
> >
> > I recently had to install a new hard drive on my Mac Pro and didn't de-authorize the apps on the old drive figuring that because my license was tied to my dongle I could just reinstall the software. The installer wouldn't let me because it said I only had a license for one seat. So I had to call Avid Tech Support and have them de-authorize the now defunct version on the original system drive. Not a big deal, but it took a while to figure out what had happened.
> >
> > I now have a new system drive with all the apps which I cloned using Super Duper and all the software runs fine, including PhraseFind.
> >
> > However, what if I want to run MC on a different computer (laptop) by swaping the dongle, will PhraseFind install properly or do I have to de-authorize and re-authorize every time I do that?
> >
> > Avid can you please link PhraseFind to the dongle?
> >
> > Thanks.
> >
> > Tony Breuer
> >
>
>

[Non-text portions of this message have been removed]

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[Avid-L2] Re: Deauthorizing? NOW FEATURE REQUEST

 

SS and PF are option which have there own serial #'s so if you wish to move to another computer then yes you would need to deactivate then activate them as well. With MC 6 there is a new unified licensing so if you have SS or PF on 5.5 don't deactivate - launch MC 6 and the Avid license control will port your activations over.
Dongle - I hear you. But since licensing is the future... it most likely wont happen.
Marianna

--- In Avid-L2@yahoogroups.com, "Tony Breuer" <tonybreuer@...> wrote:
>
> You have to de-authorize PhraseFind. I'm not sure about ScriptSync but I would assume that you do have to de-authorize that as well.
>
> I recently had to install a new hard drive on my Mac Pro and didn't de-authorize the apps on the old drive figuring that because my license was tied to my dongle I could just reinstall the software. The installer wouldn't let me because it said I only had a license for one seat. So I had to call Avid Tech Support and have them de-authorize the now defunct version on the original system drive. Not a big deal, but it took a while to figure out what had happened.
>
> I now have a new system drive with all the apps which I cloned using Super Duper and all the software runs fine, including PhraseFind.
>
> However, what if I want to run MC on a different computer (laptop) by swaping the dongle, will PhraseFind install properly or do I have to de-authorize and re-authorize every time I do that?
>
> Avid can you please link PhraseFind to the dongle?
>
> Thanks.
>
> Tony Breuer
>

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[Avid-L2] Bug report - MC v6.0.0 - export locators fails with filename longer than 27 characters

 

Looks like this bug is still hanging around in v.6 (was also in 5.0 and
5.5, perhaps earlier.)

When trying to export locators from a clip or sequence having more than
27 characters in the filename, I get the error message:
"Exception: INVALID_FILE_NAME"

Makes no difference if "General Settings/allow filenames with more than
27 characters" is on or off.

Unlike most exports, I don't get a file save dialogue with the name
truncated to 27 characters, just this uninformative error pop-up.

System specs:
MC 6.0.0 software only, Apple MacBookPro5,1 2.4 GHz Intel Core 2 Duo, 4
GB RAM, OS 10.6.8, Quicktime 7.6.6 (1710)

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Re: [Avid-L2] v.6 - changes to 'enter' key, text handling

 

Another aggravating little change -- no 'undo' when typing in bin text
columns.

Particularly annoying when combined with the new numeric 'enter' key
behaviour.

Let's say you've entered a new clip name, now hit the numeric enter key,
thinking it will save and deselect the text, then hit L-key to play
forward. Result in v.6 is the next clip in the bin is now named 'l',
with no easy way to undo the un-intended change and get the original
clip name back.

Cheers,
--Michael

On 11-12-15 11:08 AM, Michael Brockington wrote:
>
> I've just upgraded to MC v.6 on Mac (10.6.8) and am noticing a few small
> but unwelcome changes/bugs.
>
> Most annoying right now is a change in the locator/marker window. When
> entering marker descriptions, in earlier versions the Enter/Return key
> on the keyboard would add a newline in the text window, while the
> Enter/Return key on the numeric keypad would OK any changes and close
> the Locator/Marker window.
>
> With v.6 the Enter/Return key has the same effect on the regular
> keyboard and the numeric keypad -- it just adds a newline. So there now
> appears to be no keyboard-based way to dismiss this window -- always
> have to use the mouse to click OK/Cancel. Much slower to mark up
> footage having to switch to the mouse all the time.
>
> Something similiar has changed with text in bin columns - both
> Enter/Return keys have the same function -- going to the next clip and
> highlighting text for changes. Whereas in earlier versions the numeric
> keypad Enter/Return would OK changes to the current text field, and
> deselect it, allowing use of normal keyboard commands afterwards without
> going to the mouse.
>
> Another small thing: with text in bin columns, double-clicking a word no
> longer selects the entire word. Also after highlighting text, the left
> and right arrow keys no longer seem to take the insertion point to the
> start/end of the text as would be consistent with Mac interface.
>
> Typing text that exceeds column width used to be handled better -- now
> you can't see what you're typing until you save the bin, if you exceed
> the column width.
>
> Transition to full-screen display now often leaves the screen black
> until footage is played or advanced.
>
> Assigned clip colours in bins don't show up with AMA clips. (This made
> sense in previous versions since clips were always highlighted yellow,
> but now they have a different icon, why can't they be assigned colours?
> I guess this is more a feature request than a bug.)
>
> Software copes poorly with dual monitors that are different sizes --
> leaving some windows entirely offscreen in their home positions.
>
> Can others confirm these issues? Or are some due to being on 10.6.8
> instead of Lion? I imagine some are on the list of a hundred bugfixes...
>
> Thanks,
> --Michael
>
>

[Non-text portions of this message have been removed]

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Re: [Avid-L2] OT: If it works this is cool.

Some of do picture finishers only and some of us want to sing karaoke as
well.

On Sat, Dec 17, 2011 at 12:08 PM, Shirley Gutierrez <guanacaa@aol.com>wrote:

> **
>
>
> I'm reasonably ignorant about the true capabilities of professional audio
> editing software like ProTools, but that was my question exactly. Does it
> really do something different? Or is the interface somehow designed "for
> the rest of us?"
>
> Shirley
>
>
> -----Original Message-----
> From: Anna Hovhannessian <annahovhannessian@yahoo.com>
> To: Avid-L2 <Avid-L2@yahoogroups.com>
> Sent: Wed, Dec 14, 2011 8:00 am
> Subject: Re: [Avid-L2] OT: If it works this is cool.
>
> I don't understand why you need this.
>
> If you understand frequencies aand their relationship to each othe and
> have a
> decent eq and an analyzer, why would this be necessary?
>
> Is it to make things easier? And if so how does it do that?
>
> Anna
>
> On Dec 14, 2011, at 3:48 PM, Jeff Hedberg <jeff@unioneditorial.com> wrote:
>
> > That's pretty sexy...
> > Did you see the $10 app for the iPad that's similar...
> >
> > http://www.wiretotheear.com/2011/12/09/roland-r-mix-tab/
> >
> > granted - it looks like it's designed for a different audience -
> however...
> possibly similar results? Worth the $10 to find out. :)
> > (you can't save though! how silly)
> >
> >
> > Jeff
> >
> > ------------------
> > Jeff Hedberg
> > Union Editorial
> > 575 Broadway
> > 6th floor
> > New York, NY 10012
> >
> > 212-863-3030
> >
> > On Dec 14, 2011, at 12:51 PM, Jim Feeley wrote:
> >
> >> On Dec 14, 2011, at 9:06 AM, Rick wrote:
> >>
> >>>
> http://www.engadget.com/2011/12/13/spectral-layers-takes-a-cue-from-photoshop-offers-visual-audio/
> >>>
> >>> Rick Emery
> >>> www.rickemery.com
> >>>
> >>
> >> Neat interface. Seems kinda similar to other frequency space editing
> >> (or spectral editing) apps like Adobe Audition, iZotope RX, SPEAR (for
> >> the adventurous). But I may be missing something.
> >>
> >> Oh. Spectral Layers has two versions, one at $695, another at $2199:
> >>
> >> http://www.divideframe.com/?p=spectrallayerscomparisons
> >>
> >> Thanks for the link. I'll probably download the 30-day trial and see
> >> (well, hear) what's up.
> >>
> >> Would love to read others thoughts on Spectral Layers.
> >>
> >> Jim
> >> PS- On the site, I see Divide Frame has another--apparently dormant--
> >> app, GPU Decoder, "a plugin for your Non-Linear Editor. It uses the
> >> power of your NVIDIA graphic card to decode h.264 video files such as
> >> AVCHD or files from Canon EOS 5D Mark II."
> >>
> >> $100, supports Vegas Pro 9 and Premiere Pro CS3/CS4... so I guess
> >> they've EOL'd this app:
> >>
> >> http://www.divideframe.com/?p=gpudecoder
> >>
> >
> >
> >
> > [Non-text portions of this message have been removed]
> >
> >
> >
> > ------------------------------------
> >
> > Search the official Complete Avid-L archives at:
> http://archives.bengrosser.com/avid/
> > Yahoo! Groups Links
> >
> >
> >
>
> ------------------------------------
>
> Search the official Complete Avid-L archives at:
> http://archives.bengrosser.com/avid/
> Yahoo! Groups Links
>
> [Non-text portions of this message have been removed]
>
>
>


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Re: [Avid-L2] OT: If it works this is cool.

 

I'm reasonably ignorant about the true capabilities of professional audio editing software like ProTools, but that was my question exactly. Does it really do something different? Or is the interface somehow designed "for the rest of us?"

Shirley

-----Original Message-----
From: Anna Hovhannessian <annahovhannessian@yahoo.com>
To: Avid-L2 <Avid-L2@yahoogroups.com>
Sent: Wed, Dec 14, 2011 8:00 am
Subject: Re: [Avid-L2] OT: If it works this is cool.

I don't understand why you need this.

If you understand frequencies aand their relationship to each othe and have a
decent eq and an analyzer, why would this be necessary?

Is it to make things easier? And if so how does it do that?

Anna

On Dec 14, 2011, at 3:48 PM, Jeff Hedberg <jeff@unioneditorial.com> wrote:

> That's pretty sexy...
> Did you see the $10 app for the iPad that's similar...
>
> http://www.wiretotheear.com/2011/12/09/roland-r-mix-tab/
>
> granted - it looks like it's designed for a different audience - however...
possibly similar results? Worth the $10 to find out. :)
> (you can't save though! how silly)
>
>
> Jeff
>
> ------------------
> Jeff Hedberg
> Union Editorial
> 575 Broadway
> 6th floor
> New York, NY 10012
>
> 212-863-3030
>
> On Dec 14, 2011, at 12:51 PM, Jim Feeley wrote:
>
>> On Dec 14, 2011, at 9:06 AM, Rick wrote:
>>
>>> http://www.engadget.com/2011/12/13/spectral-layers-takes-a-cue-from-photoshop-offers-visual-audio/
>>>
>>> Rick Emery
>>> www.rickemery.com
>>>
>>
>> Neat interface. Seems kinda similar to other frequency space editing
>> (or spectral editing) apps like Adobe Audition, iZotope RX, SPEAR (for
>> the adventurous). But I may be missing something.
>>
>> Oh. Spectral Layers has two versions, one at $695, another at $2199:
>>
>> http://www.divideframe.com/?p=spectrallayerscomparisons
>>
>> Thanks for the link. I'll probably download the 30-day trial and see
>> (well, hear) what's up.
>>
>> Would love to read others thoughts on Spectral Layers.
>>
>> Jim
>> PS- On the site, I see Divide Frame has another--apparently dormant--
>> app, GPU Decoder, "a plugin for your Non-Linear Editor. It uses the
>> power of your NVIDIA graphic card to decode h.264 video files such as
>> AVCHD or files from Canon EOS 5D Mark II."
>>
>> $100, supports Vegas Pro 9 and Premiere Pro CS3/CS4... so I guess
>> they've EOL'd this app:
>>
>> http://www.divideframe.com/?p=gpudecoder
>>
>
>
>
> [Non-text portions of this message have been removed]
>
>
>
> ------------------------------------
>
> Search the official Complete Avid-L archives at: http://archives.bengrosser.com/avid/
> Yahoo! Groups Links
>
>
>

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[Avid-L2] Re: Kona and MC6 testing

 



--- In Avid-L2@yahoogroups.com, "johnrobmoore" <bigfish@...> wrote:

<<Also when you say, "When you create an RGB project in Avid, you are working with the 4:4:4 vs. 4:2:2 issue. So you have twice the color space." Is it twice the color space or twice the color info?>>

Twice the color information was sampled. Or, to be more precise, twice the horizontal color resolution. "Space" was a poor choice of words on my part.

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[Avid-L2] Re: Kona and MC6 testing

 

This is the way I get my head round the whole Color space thang.
Media Composer is really color space agnostic.
It is like a tape machine.
(If you do not do any remapping of signals in and out that is.
And You Shouldn't!)
Import Cineon/S-log/ etc. then you are working in that colorspace, but
before so called "RGB709" format the signal was chroma bandwidth halved and matrixed to YUV.
However once you insert Avid filler, captions or use plug-ins with "legalizing" features you are then adding REC 709 elements.

--- In Avid-L2@yahoogroups.com, "Terence Curren" <tcurren@...> wrote:
>
> You're walking into a can of worms here. There are level mapping issues where the 709 spec maps the black point and white point in from the extremes of RGB to preserve headroom. That is what you are thinking about.
>
> Then there is the sampled color of recorded "RGB" on tape which is 4:4:4 vs. components video at 4:2:2. Thus adding twice the chroma info.
>
> Then there is RGB color space of which there are quite a few flavors. Some examples here:
> <<http://en.wikipedia.org/wiki/RGB_color_space>>
>
> When you create an RGB project in Avid, you are working with the 4:4:4 vs. 4:2:2 issue. So you have twice the color space. It doesn't mean that suddenly blacks and whites are remapped to RGB levels vs 709.
>
> --- In Avid-L2@yahoogroups.com, "johnrobmoore" <bigfish@> wrote:
> >
> > What does capturing Smpte bars look like on the scope. I haven't dealt with 444 but what is the spirit of RGB 709? I think of RGB as full 0 to 255 or 0 to 1023 and 709 as 16 to 235 or 64 to 940. Clearly I'm missing something about these projects. What does the AJA Log RGB codec to the footage. Does that act like a lut to make linear our of log or does the footage look washed out like log footage does sometimes?
> >
> > --- In Avid-L2@yahoogroups.com, Jay Mahavier <jay_mahavier@> wrote:
> > >
> > > For the past few projects we have off-lined in Avid Media Composer and then did our conform in FCP7. Our sources have been HDSR tape, 1080 23.98 444 RGB with a Log source. Panavision Genesis or Arri Alexa. When doing element capture or the conform we would use the FCP7 system with a Kona3 card. Capture using the AJA Log RGB codec, full range (0-1023). Bottom line of that was pixel in = pixel out. What I digitized was a match to what was on tape. I could digitize, insert edit back to the tape, and then digitize again and it was a pixel to pixel match on the resulting digitized footage.
> > >
> > > So I was interested in how MC6 would compare. I set up a test system running MCv6 on OSX 10.7.2 with a Kona3 card using AJA drivers v10.0.1.
> > >
> > > I digitized a few shots in the original FCP7 system as a base line. Then on the MC6 Test system I used the AJA VTR Xchange application to capture footage. Different CPU, different Kona card, and different source SR deck then I used for the FCP 7 system, but same source tape and same section of footage. The footage matched between the two systems.
> > >
> > > Then I launched MCv6. Made a new Avid project. 1080/23.98 RGB. I did capture test with 1:1, DNxHD, and ProRes4444. And none of them match the footage from either the FCP7 system or the test I did on the Avid system using AJA VTR Xchange. I think the problem is that the Color Space setting for the Avid project is RGB 709. The 709 part being the problem. To capture Log footage I need full range RGB capability. Rec 709 just won't do. It looked like what MC6 was doing was actually taking 64 (16) and moving it to 0 and taking 940 (235) and moving it to 1023. I think that's what's going on. At least when I start pixel probing the values and looking at histograms that's what appears to be happening. But maybe I have a setting wrong somewhere in MC6.
> > >
> > > I'm not sure if there are plans to fix this or not. But I sure hope they do. I would really like to be able to do my element capture and conform on Media Composer.
> > >
> > > If anyone has any observations about this they would like to share I would like to hear them.
> > >
> > > Thank you,
> > > Jay
> > >
> >
>

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Friday, December 16, 2011

[Avid-L2] Re: Kona and MC6 testing

 

Now that I've opened a test project I see the choices are YCbCr 709 or RGB 709 so everything is 709 which is where Avid always works IIRC. So is it correct to think that the capture off tape mentioned just goes straight into Avid when in RGB 709 just like it does in the normal YCbCr 709 I'm used to with no remapping? And that the remapping I'm thinking of is still only for imports?

Also when you say, "When you create an RGB project in Avid, you are working with the 4:4:4 vs. 4:2:2 issue. So you have twice the color space." Is it twice the color space or twice the color info?

Seems like as you say, "Then there is the sampled color of recorded "RGB" on tape which is 4:4:4 vs. components video at 4:2:2. Thus adding twice the chroma info." I get that but am confused if that also means twice the color space. Just trying to get my terminology straight.

--- In Avid-L2@yahoogroups.com, "Terence Curren" <tcurren@...> wrote:
>
> You're walking into a can of worms here. There are level mapping issues where the 709 spec maps the black point and white point in from the extremes of RGB to preserve headroom. That is what you are thinking about.
>
> Then there is the sampled color of recorded "RGB" on tape which is 4:4:4 vs. components video at 4:2:2. Thus adding twice the chroma info.
>
> Then there is RGB color space of which there are quite a few flavors. Some examples here:
> <<http://en.wikipedia.org/wiki/RGB_color_space>>
>
> When you create an RGB project in Avid, you are working with the 4:4:4 vs. 4:2:2 issue. So you have twice the color space. It doesn't mean that suddenly blacks and whites are remapped to RGB levels vs 709.
>
> --- In Avid-L2@yahoogroups.com, "johnrobmoore" <bigfish@> wrote:
> >
> > What does capturing Smpte bars look like on the scope. I haven't dealt with 444 but what is the spirit of RGB 709? I think of RGB as full 0 to 255 or 0 to 1023 and 709 as 16 to 235 or 64 to 940. Clearly I'm missing something about these projects. What does the AJA Log RGB codec to the footage. Does that act like a lut to make linear our of log or does the footage look washed out like log footage does sometimes?
> >
> > --- In Avid-L2@yahoogroups.com, Jay Mahavier <jay_mahavier@> wrote:
> > >
> > > For the past few projects we have off-lined in Avid Media Composer and then did our conform in FCP7. Our sources have been HDSR tape, 1080 23.98 444 RGB with a Log source. Panavision Genesis or Arri Alexa. When doing element capture or the conform we would use the FCP7 system with a Kona3 card. Capture using the AJA Log RGB codec, full range (0-1023). Bottom line of that was pixel in = pixel out. What I digitized was a match to what was on tape. I could digitize, insert edit back to the tape, and then digitize again and it was a pixel to pixel match on the resulting digitized footage.
> > >
> > > So I was interested in how MC6 would compare. I set up a test system running MCv6 on OSX 10.7.2 with a Kona3 card using AJA drivers v10.0.1.
> > >
> > > I digitized a few shots in the original FCP7 system as a base line. Then on the MC6 Test system I used the AJA VTR Xchange application to capture footage. Different CPU, different Kona card, and different source SR deck then I used for the FCP 7 system, but same source tape and same section of footage. The footage matched between the two systems.
> > >
> > > Then I launched MCv6. Made a new Avid project. 1080/23.98 RGB. I did capture test with 1:1, DNxHD, and ProRes4444. And none of them match the footage from either the FCP7 system or the test I did on the Avid system using AJA VTR Xchange. I think the problem is that the Color Space setting for the Avid project is RGB 709. The 709 part being the problem. To capture Log footage I need full range RGB capability. Rec 709 just won't do. It looked like what MC6 was doing was actually taking 64 (16) and moving it to 0 and taking 940 (235) and moving it to 1023. I think that's what's going on. At least when I start pixel probing the values and looking at histograms that's what appears to be happening. But maybe I have a setting wrong somewhere in MC6.
> > >
> > > I'm not sure if there are plans to fix this or not. But I sure hope they do. I would really like to be able to do my element capture and conform on Media Composer.
> > >
> > > If anyone has any observations about this they would like to share I would like to hear them.
> > >
> > > Thank you,
> > > Jay
> > >
> >
>

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