I need to answer one of my own incorrect questions/statements in this thread. Today back on my work system I see that Avid does in fact offer a 16 bit RGB DPX option. I don't know why I thought it didn't. Perhaps I was confusing the bit depth of DNxHRHQX which is listed as 12 bit. Or I was incorrectly remembering previous threads dealing with 16 bit support in Avid when it came to ama links or imports or something. I still think exporting 16bit RGB DPX of camera original material that is 10 bit is overkill but if that's what is required at least I can do it. I was told that they had agreed to accept 10 bit DPX but know that I know better I can offer up their original request.
---In Avid-L2@yahoogroups.com, <bigfish@...> wrote :
After delivering a ProResHQ 4096x2160 file to make a Netflix IMF file from not Netflix wants additional archival masters that are "DI" masters. We shot Panasonic Varicam 35 AVC-Intra 4:2:2 YUV 10 bit BT.709 and then I transcoded that to DNxHRHQX which is 12 bit according to:
So in my mind I've not lost anything from the original Camera Original, I'm not calling it Camera Raw because that would confuse the media with a true Camera Raw format that would have much more image data/information than does the aforementioned AVC-Intra. So when Netflix asked for "DI" archival masters we felt that the closest thing we had to a "DI" is the DNxHRHQX master file before it's been mixdown to ProResHQ. Well apparently someone other than our main contact is saying that we really need to deliver DPX 16 bit or EXR files. I know I can rather easily export DPX 10bit or DPX 12 bit directly from Avid with AMA Export. I've done this with QC test files that seemed fine. So I'm thinking my only option is to take the DNxHRHQX file into Resolve and export it as a DPX 16bit file. All of this really seems like overkill given what the original material was shot as. Am I crazy to think this?
The camera original is 10 bit YUV 422 so what good is generating a DPX 16 bit export. I did everything in Avid so it's not like there is some floating point magic happening that has suddenly turned the camera original into something like a feature film would be shooting. We shoot one hour and 40 minute long clips of a stage show so it's virtually impossible or very impractical to shoot to some sort of camera raw format in 4096x2160 hence the AVC-Intra from a camera Netflix has blessed. Even if we went the whole aaf into Resolve to link to the actual AVC-Intra media it's still 10 bit video essence so in Resolve what would be the benefit to export a DPX 16 bit file. I'm thinking maybe if all the color correction was done in Resolve then in theory the subtitles of the Resolve's color work could have 16 bit image essence even if the original material is only 10 bit but that really seems like a lot of overkill to me. When I dub vhs to digibeta I haven't lost anything but I haven't gained anything but is that too simplistic an analogy in this case. Is Resolves color resolution so much more refined that it would warrent DPX 16bit from 10 bit camera original? I'm thinking just exporting it through Resolve to DPX 16 bit is the most logical thing to do if they insist on DPX 16 bit.
All this after the show is already out there and streaming. I'm really trying to understand why this archival material is being treated like it came from some super high end feature film workflow. After all Netflix doesn't even allow Arri Alexa material in the original programming when by everyone else's standards that is one of the best camera images out there. Curious what others think and why is it the Avid doesn't even offer a DPX 16 bit export? Is it because their internal architecture is only 10 bit or is it 12 bit in this case? This stuff really starts to make my brain hurt.
John Moore Barking Trout Productions Studio City, CA bigfish@...
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Posted by: bigfish@pacbell.net
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