Frage von mleko:
hi
have in my project in AE, in which I have just a video edit the project settings of 8 to 16 Bit asked. Now - to 16-bit video is displayed much brighter? What "bits" you can trust - what the brightness is concerned?
the video is in Apple ProRes (HQ) codec in the project.
EDIT: did rausgefunden if the source video in apple ProRes codec exists - it will be the switch of 8 to 16 bit brighter.
if the video but umcodiert on zb of AE animation codec, and it again brings into AE, then it remains the same ..
wiesoooo ?????
Antwort von Mylenium:
wiesoooo ????? Öhm - Mahematik damned! ProRes is 12bit/14bit, animation is only 8bit. Consequently 16bpc would be no conversion stattfindne and therefore not previously visible, the color image influence. But times like this apart, are simply errors in CoDec itself brightness changes (shift of the gamma value) should not happen and actually is supposedly already fixed forever ... So Guggen times, whether you all the updates for Final Cut Pro & Co. and have Quicktime auf'm system.
Mylenium
Antwort von mleko:
hey --
- Thank you for your reply!
I have found the problem ... and while running on the mac I do after effects cs3 .... and because radio is not with the ProRes codec.
I was now a friend of the CS4 installed, and lo and behold --
törö - it works without probs!
I find stupid because cs3 I'm working on is completely up to date ... and Final Cut Pro synonymous - so funny that it is not radio ...
now the thing will probably continue to 8bit edit, and then on CS4 with 16bit rausrechnen ...
32 bit really brings something - for material that is in with a consumercam hd (HV20) has been?
Antwort von Debonnaire:
32 bit really brings something - for material that is in with a consumercam hd (HV20) has been? Bring only what if you farbtiefenvergrössernde effects and montages've done. If you are simply the raw material 1:1 again rausrenderst, not because nothing happens höherbittiges available, the missing-Depth 8bit would fill. Just as the upscaling of a digital image happens to be the detail resolution of the depicted object may never grow! Everything comes to that, is mathematically invented and electronical stuff!
Antwort von mleko:
or otherwise - there are disadvantages?
Antwort von Debonnaire:
The disadvantage may be that your computer to its knees is because as with file sizes are expected, the AE simply brings up a sweat, which nothing but your image of them. Simply had to try. Otherwise there are no disadvantages.
Antwort von Mylenium:
Debonnaire's response is not completely true. 32bpc (float) is another math behind it, and the effect itself on such trivial things like Blendmodi and Motionblur from. Effects, in 32bpc expect to see therefore synonymous partially drastically different (Glows, Blur). The colleague, however, has so far right that if you do not use such Spirenzien, almost no visual difference and certainly not when compressed source material, which is used Chromaundersampling ...
Mylenium
Antwort von WoWu:
or otherwise - there are disadvantages? And if ... Dithering!
The best thing you can do is reason in your resolution and color space to stay, unless (like domain has already written) that you later want to add elements dissolved.
Look s.Deinem target format. There is a difference if you have a band play off (mostly 8 bit) or if you have your array with the closing date on film go.
ProRes is 12bit/14bit ProRes422 is 8 and 10 bit and 10 bit in, not all gates and Effects in Final Cut Pro. Final Cut Pro, then turns and silently, without notice to 8bit and expects.
To be exact, actually works in Final Cut Pro, only the cross desolve in "High Precision"
The incalculable effects are then on the hand.
Antwort von mleko:
hello all;)
thanks for the reply.
tried in 32 bits to render, but the whole video is just purple .. tja - I think I will stay with 16bit.
for understanding: I have hd material of my HV20 with apple ProRes (HQ) played into the final cut - finished film is cut - the after effects magic bullet for looks and small camera movements (I know, I had the synonymous make the final cut, but I have a lot to work with masks) ...
output medium is a 720p file - on film is not exposed, but in cinema festivals in the run ...
did you experience with cinema? on what should I look at the colors / brightness / contrast .... etc.?
what is the best for the canvas - I thought since s.ausgabe to miniDV? or do you have better suggestions?
thank you again for your help
Antwort von Mylenium:
ProRes is 12bit/14bit ProRes422 is 8 and 10 bits and 10 bits in [/ quote]
Yo, true. Had to return as Cineform or BMD in mind. Sorry.
Mylenium
Antwort von frm:
Bring the whole in terms of what color correction if 8bit material imported in 16-bit and there Colorriert? Or is this nonsense?
Antwort von WoWu:
@ Frm
Roars as you can by all sorts of format and seem to forget entirely that any conversion mainly done by interpolation and no interpolation of the picture improves.
You start you a whole bunch of artifacts behind an AND land again on an 8bit format.
All your detours over 32 or 16 bits have your picture does not improve.
If you now of your material more times of 8-bit to 16 bit bringest, is dithering. There is no single new color! The color does not change. There is banding on the return of 16-bit to 8 bits.
So, my advice .... make your color correction in 8 bit and let the fingers of transformations, which bring nothing but artifacts.
Antwort von frm:
I have until now synonymous never tried and just wanted to ask.
