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    #11
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    That makes sense. So would it potentially be better to have Compressor just do the frame controls/reverse telecine and output as 8-bit, then have Color output as 10-bit when color grading? Would Compressor actually be re-compressing the media again, or just doing the reverse telecine process and repackaging the frames in the MOV file? Is there a way to do this easily in Cinema Tools which won't recompress and then go to 10-bit in Color? I'm just trying to think of a way to save a generation of compression.



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    #12
    Senior Member tackleqb's Avatar
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    hey just curious, do you need to do anything when you export AVCHD footage?


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    #13
    Senior Member J Davis's Avatar
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    I noticed JES has a setting to change gamma (default on mine after download is 2.22)
    Any comments on adjusting away from quicktime gamma?
    J.Davis
    jdMAX.com


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    #14
    Still Alive Mod Jack Daniel Stanley's Avatar
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    Don't do it. It's annoying that FCP and QT try to guess what you want, but all of the monitoring in FCP is done assuming that all you monitors and everything else is in Mac Gamma. It compensates to 2.2 so if you also change your material to 2.2 you exacerbate the problem.
    JACKDANIELSTANLEY.COM
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    #15
    Senior Member J Davis's Avatar
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    Quote Originally Posted by Jack Daniel Stanley View Post
    Don't do it. It's annoying that FCP and QT try to guess what you want, but all of the monitoring in FCP is done assuming that all you monitors and everything else is in Mac Gamma. It compensates to 2.2 so if you also change your material to 2.2 you exacerbate the problem.
    Tx!
    J.Davis
    jdMAX.com


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    #16
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    If I use Neoscene or VoltaicHD will it preserve the original time-stamp of the original clip? This is important due to the fact that most people in professional situations will be shooting double system sound. We need the original time-stamp of the clip so we can easily sync it up to our audio files.


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    #17
    Senior Member Ben_B's Avatar
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    Aren't all version of ProRes, HQ, LT, even proxy, 10-bit? Also don't they all convert to 4:2:2 unless you're using ProRes 4444?


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    #18
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    Quote Originally Posted by Ben_B View Post
    Aren't all version of ProRes, HQ, LT, even proxy, 10-bit? Also don't they all convert to 4:2:2 unless you're using ProRes 4444?
    Yes and yes.



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    #19
    Senior Member Chris_Marrs_Piliero's Avatar
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    so do you guys have the REMOVE ADVANCED PULLDOWN AND DUPLICATE FRAMES box checked or unchecked when you log and transfer in FCP?


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    #20
    Senior Member Ben_B's Avatar
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    "The Remove Advanced Pulldown and Duplicate Frames option in the Log and Transfer window preferences allows you to remove redundant (duplicate) frames recorded in variable frame rate DVCPRO HD 720p footage. You can also select this option to remove advanced (2:3:3:2) pull-down from 29.97 fps footage such as 1080i and 480i, resulting in 23.98 fps (24p) footage on disk after ingest.

    The Panasonic AG-HVX200 camcorder can record 24p footage on P2 cards using three methods:

    Native 23.98 fps (no pull-down or extra frames)

    23.98 fps with standard 3:2 (2:3:2:3) pull-down

    23.98 fps with advanced (2:3:3:2) pull-down

    Important: The Log and Transfer window cannot remove standard 3:2 pull-down. To convert footage with 3:2 pull-down, you can ingest the media at 29.97 fps and then use Cinema Tools to remove the pull-down."

    Isn't GH1 some flavor of 3:2 pulldown? So this wouldn't apply. I believe this feature is for removing pulldown on stuff in a 29.97 fps stream? Hmm wish apple would support us. Right now I am using the compressor method for when I am shooting 1080p but haven't done much 1080p work...will probably be using JES if I do more but I've had a few stability problems with it (probably solved by making a bottle)
    Last edited by Ben_B; 09-15-2009 at 01:05 AM.


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