NorBro
Major Contributor
So I discovered something today that I'm sure people out there somewhere may already know, but I think it's worth sharing since others may not...and it's really exciting!
For me - basically for the last 10 years or so - banding in motion graphics has been a major problem in H.264 deliverables.
When you're using lights in Motion on super clean canvases or even a simple vignette in FCP X, your final product will have rings, wavy lines/bands in it unless you're doing something about it (with a compromise) and/or exporting 10/12-bit high-quality formats. But that doesn't always work for everything in video (although it's rarely an issue with non-moving creations).
But generally if you have a short project in Motion, you can export it as ProRes and the problem is mostly solved. Years ago, however, doing this wasn't realistic for quantity and length until computers greatly improved (the solution below was simply not possible for most people's hardware) and video sharing platforms allowed you to upload more data (if your internet was fast enough).
When I make stuff in Motion - which looks gorgeous inside that software - and send 12-bit PR 444XQ to FCP for further editing, I have never been able to produce H.264 without banding/rings in it from the lights used in Motion (it even occurs with soft gradients in 2D projects).
I don't know how other applications handle everything, but during my decade-long search for a simple solution which included adding noise, generators, masks, behaviors and dithering (via Compressor), I found similar questions asked about After Effects. Most of the time only adding a little noise immediately reduces it, but unfortunately you lose your solid backgrounds as you attempt to strike a balance between the present and newly introduced artifacts. And one of the most bizarre occurrences in FCP is if you pause in your timeline, any banding disappears. But the second you move your playhead or play your video, you can see it again (and it's probably related to the better quality/performance setting).
___
So today I'm working on a very simple presentation and this problem is turning into a nightmare. This thing is like an hour long - similar to a PowerPoint but with more savvy editing - and I just want it to look good. And I'm searching solutions and trying a few new different approaches to no avail.
And by the way...I know most people don't use Motion 5 so if you're still reading then you might appreciate this.
So totally randomly I'm back in Compressor looking around (which I barely use anymore), and I end up trying HEVC as the codec for a MOV with its 'Profile' parameter set to 10-bit. (The default is 8-bit.)
And instantly it's so much better with HEVC. (And of course the files are smaller which is part of the goal.)
In the past, besides PR I have tried Apple Intermediate Codec, Photo-JPEG, Animation and Uncompressed 10-Bit 4:2:2 and nothing has worked.
___
I'm most likely late to the party even though it has only been a couple of years since HEVC's introduction into this software, but even now after searching for HEVC/FCP/Motion/banding/etc. together, I'm not seeing anyone recommending it.
Also, I created a custom Compressor setting/droplet and added it as an export destination in FCP so I can skip sending the projects to Compressor.
This is like the biggest breakthrough I've ever had. lol
___
Before and after...these are frames from a video. (The issue - as mentioned - is practically non-existent for static designs.)
For me - basically for the last 10 years or so - banding in motion graphics has been a major problem in H.264 deliverables.
When you're using lights in Motion on super clean canvases or even a simple vignette in FCP X, your final product will have rings, wavy lines/bands in it unless you're doing something about it (with a compromise) and/or exporting 10/12-bit high-quality formats. But that doesn't always work for everything in video (although it's rarely an issue with non-moving creations).
But generally if you have a short project in Motion, you can export it as ProRes and the problem is mostly solved. Years ago, however, doing this wasn't realistic for quantity and length until computers greatly improved (the solution below was simply not possible for most people's hardware) and video sharing platforms allowed you to upload more data (if your internet was fast enough).
When I make stuff in Motion - which looks gorgeous inside that software - and send 12-bit PR 444XQ to FCP for further editing, I have never been able to produce H.264 without banding/rings in it from the lights used in Motion (it even occurs with soft gradients in 2D projects).
I don't know how other applications handle everything, but during my decade-long search for a simple solution which included adding noise, generators, masks, behaviors and dithering (via Compressor), I found similar questions asked about After Effects. Most of the time only adding a little noise immediately reduces it, but unfortunately you lose your solid backgrounds as you attempt to strike a balance between the present and newly introduced artifacts. And one of the most bizarre occurrences in FCP is if you pause in your timeline, any banding disappears. But the second you move your playhead or play your video, you can see it again (and it's probably related to the better quality/performance setting).
___
So today I'm working on a very simple presentation and this problem is turning into a nightmare. This thing is like an hour long - similar to a PowerPoint but with more savvy editing - and I just want it to look good. And I'm searching solutions and trying a few new different approaches to no avail.
And by the way...I know most people don't use Motion 5 so if you're still reading then you might appreciate this.
So totally randomly I'm back in Compressor looking around (which I barely use anymore), and I end up trying HEVC as the codec for a MOV with its 'Profile' parameter set to 10-bit. (The default is 8-bit.)
And instantly it's so much better with HEVC. (And of course the files are smaller which is part of the goal.)
In the past, besides PR I have tried Apple Intermediate Codec, Photo-JPEG, Animation and Uncompressed 10-Bit 4:2:2 and nothing has worked.
___
I'm most likely late to the party even though it has only been a couple of years since HEVC's introduction into this software, but even now after searching for HEVC/FCP/Motion/banding/etc. together, I'm not seeing anyone recommending it.
Also, I created a custom Compressor setting/droplet and added it as an export destination in FCP so I can skip sending the projects to Compressor.
This is like the biggest breakthrough I've ever had. lol
___
Before and after...these are frames from a video. (The issue - as mentioned - is practically non-existent for static designs.)
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If he says there is a visual difference i will take his word for it.