DNxHD shifting color & contrast

[Demistate]

The projects will be finished with Premier. Is this still the way to go? I'm starting to think working uncompressed will save me more time at this point. The cost will only be HD space. CS5 should be out at some point soon which will streamline the workflow.
I would be interested in trying to correct the gamma shift though. Your system is very detailed and I will give it a try.
One question,

"1) Import your Premiere Pro project into After Effects." Are you referring to the Premiere project that contains the camera original H-264 files of files already converted to DNxHD?

In my guide, I'm creating the edit in Premiere Pro, and dropping that PPro Timeline into AFX to render. The entire edit will show up as one layer in After Effects this way, with a proper color management attached to it.

 

[ROCKMORE]

In my guide, I'm creating the edit in Premiere Pro, and dropping that PPro Timeline into AFX to render. The entire edit will show up as one layer in After Effects this way, with a proper color management attached to it.

I'll give it a try, but I didn't get an answer to my other question

Does the PPro project you are dropping into AE contain
A. the original H-264 camera files, or B. H-264 files converted to Quicktime mov. using DNxHD.
Thanks for the help

 

[Demistate]

I'll give it a try, but I didn't get an answer to my other question

Does the PPro project you are dropping into AE contain
A. the original H-264 camera files, or B. H-264 files converted to Quicktime mov. using DNxHD.
Thanks for the help

The Original h.264 camera files.


Premiere Pro will see the correct Color space in the Quicktime files that your DSLR makes. The problem arises when you use the Quicktime codecs through their Software on the PC. As I understand, Quicktime on the MAC does fine as long as you stay with a FCP only workflow.

 

[basspig]

I bumped into this thread while searching on DNxHD clamping highlights. I just noticed it this evening. Having just gotten the DNxHD CODEC in a firmware update for my Atomos Shogun, I had this sense that my footage seemed a little 'duller' in Premiere CS6. I was shooting whites to 108 IRE, but everything comes in clamped to 96 IRE. Previously, I was shooting ProRes 422 (which takes 2X longer to render than DNxHD) and my super whites were making it in to Premiere, verified by the scopes.

While I can take the ProcAmp and gain up the contrast to get super white back, I suspect that's like up-rezzing a lower res image--the information may have been lost by Premiere. I'll have to do more research on this.