This is very, very helpful. Thank you, Patrick.
On Sep 8, 2016, at 8:11 AM, Patrick Inhofer elists@fini.tv [Avid-L2] <Avid-L2@yahoogroups.com> wrote:On Thu, Sep 8, 2016 at 10:18 AM, David Dodson davaldod@gmail.com [Avid-L2] <Avid-L2@yahoogroups.com> wrote:I took a very direct path. I imported the ProRes4444 exported out of Baselight into Encore directly and encoded to H264 at Maximum Quality transcoding and writing directly to the Blu ray disc.As a colorist who's used to having clients blame these problems on him...My first troubleshooting step whenever a client says they're using ProRes444 is to have them test their pipeline—but using a ProRes422HQ export.Why? Because ProRes444 defines both 'Full Range' and 'Legal Range' as acceptable bit values and different pro apps make different default assumptions about which set of code values it is using. ProRes422HQ is ONLY 'Legal Range' and almost all professional software correctly interprets how to handle that codec. By testing your pipeline with ProRes422HQ you can quickly identify if one app in the workflow is misinterpreting the 444 code values, resulting is an incorrect final image.You don't have to do the test on the entire program... just a scene where it's really easy to see the problem.If everything looks fine with the ProRes422HQ test, then your job is to figure out which app is kinking up your pipeline by misinterpreting the 444 export. Note: when it comes to final deliverables you almost always want to go 'Video' (or 'Legal') range (unless explicitly told otherwise) - so start with the app doing the initial render.BTW - linear grayscale ramps are terrific for troubleshooting this type of stuff. Comparing Waveforms will often tell you the story. And Resolve is a great free app for easily toggling footage between Full and Legal range to help troubleshoot.HTH- patrick- -
Patrick inhofer
Colorist / Finisher / Owner, Fini.tvCoach,Subscribe to my free weekly Color Grading Newsletter!
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Posted by: David Dodson <davaldod@gmail.com>
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