Anyone have a WORKING 10-bit pipeline?

[eskatonia]

cool and what NLE are you using to maintain 10-bit?

FCP can do this as long as you use a 10 bit YUV codec and have "render all YUV material in high precision" selected in your sequence settings

There's a problem with only the cross dissolve transition working in 10 bit but I have a solution to that coming out very soon.

 

[John Tissavary]

thanks for the post.

well since you've hooked premiere pro into the pipeline, sorry that doesn't work.

from the other thread

"exporting a 10bit QT via shake gives a really screwed image"

"Shake screws blackmagic 10bit files currently until you force 8bit"

especially have a look at what rainer had to say. enlightening

AE ok will probably work, i'm looking for people who know the accuracy is being maintained not just from specs that say it is 16-bit. as soon as you hit any button that say 8 to 16-bit conversion, i have serious doubts of the numerical accuracy being maintained.

have a look over in the thread about 16-bit and noise.

http://www.reduser.net/forum/showthread.php?t=6285

I never use QT in premiere - render Cineform 4:4:4 out of Scratch.

cheers,
jt

 

[Gavin Greenwalt]

yes PC land, if you grep through some of the threads about 16-bit workflow, you'll fnd that there are problems with shake/color actually maintaining numerical accuracy, etc. don't assume just because a box is ticked, it's doing what it's supposed to.

I wasn't recommending using quicktime. I hate quicktime. It's complete garbage. I stay away from it whenever possible. If I could club quicktime like a baby seal I would. Which is why I said DPX -> Shake etc etc etc. And by DPX I didn't mean to infer Quicktime wrapped DPX. Just plain good old fashioned *.dpx The way it's been working for the last 10 years (if you include *.cin). If a DPX workflow was dropping bits, it would have been in the garbage heap by now but 10+ years of films have pushed it through a significant portion of their pipeline with little trouble.

i put the xvid, h264 there are they maybe other people who are doing independent work who may have already come up with a solution but haven't bothered to post because they've figured the 10-bit normal pipeline works, well it doesn't.

if you read the news, companies, like DirectTV, are going to switch to mp4 for content delivery. someone must have already figured this out. yes, yes, i know that satellites give you a massive bandwidth, much more than terrestrial broadcasting but there's always hope.

I'm not suggesting that it's impossible to figure out a YUV 10bit solution through the Xvid DCT algorithm. I'm suggesting it's a waste of time because you'll still have to go in and write the software to make Premiere or Avid support it for real time playback. Which all seems pretty rediculous when you could just use Cineform and save yourself the time. I can't imagine developing it in house would be cheaper than just purchasing a copy of Cineform which has already gone through all the hastle of writing the premiere plugin to add native support.

 

[galexander]

I wasn't recommending using quicktime. I hate quicktime. It's complete garbage. I stay away from it whenever possible. If I could club quicktime like a baby seal I would.

this is f_cking brilliant, i love it!!

Which is why I said DPX -> Shake etc etc etc. And by DPX I didn't mean to infer Quicktime wrapped DPX.

ah, now i understand.... i learn from the master. whatever the hell that wrapper is, complete junk IMHO. that's what i wasn't getting as you say dpx has been around forever and a day, so why the hell was it bombing... freeze frame... 8-bits... good stuff.

I'm not suggesting that it's impossible to figure out a YUV 10bit solution through the Xvid DCT algorithm. I'm suggesting it's a waste of time because you'll still have to go in and write the software to make Premiere or Avid support it for real time playback. Which all seems pretty rediculous when you could just use Cineform and save yourself the time. I can't imagine developing it in house would be cheaper than just purchasing a copy of Cineform which has already gone through all the hastle of writing the premiere plugin to add native support.

i was going to completely avoid premiere and avid. virtual dub doesn't care what the frame size is but is only 8-bit. avisynth is another excellent, hard-core, scripting tool for NLE, but 8-bit, so if it is as simple as reallocating memory and redefining variables to 16-bit, i want to have a go it.

avid is another point, does anyone have that working???

 

[Joe Carney]

After Effects 7 and CS3 support 10bit and higher codecs, both directshow and QT on both platforms.
But at this point, Cineform is the only one offering at 10bit pipleline for Windows using DirectShow.

 

[ptr.pfn]

Using SilverStack in 10-bit workflow

Using SilverStack in 10-bit workflow

Hi all,

just before Christmas we released a new version of Pomfort SilverStack HCD supporting a 10-bit pipeline for the creation of QuickTime movies (for example for ProRes, Cineform and others). At the moment you would have to go through DPX files (or 16-bit TIFF), but you get lots of features such as various burn-ins, basic color correction, timecode track, sound file support and batch conversion.

You can try out SilverStack for free, just get the download (Mac only) at http://pomfort.com/silverstack

Best,
Patrick

-- pomfort.com

 

[Mark L. Pederson]

Hi all,

just before Christmas we released a new version of Pomfort SilverStack HCD supporting a 10-bit pipeline for the creation of QuickTime movies (for example for ProRes, Cineform and others). At the moment you would have to go through DPX files (or 16-bit TIFF), but you get lots of features such as various burn-ins, basic color correction, timecode track, sound file support and batch conversion.

You can try out SilverStack for free, just get the download (Mac only) at http://pomfort.com/silverstack

Best,
Patrick

-- pomfort.com

we tested a pre-release demo of this and it was fantastic!

 

[ptr.pfn]

we tested a pre-release demo of this and it was fantastic!

Thanks! I hope to read more about the SDK-rumors here soon -
including ways to implement the import of RED-Raw files (.R3D) in SilverStack... :-D

Best,
Patrick

 

[Andrew Ravani]

In Shake, you will need to add a byte node switched to 16 bit at the top of your tree for all input from .r3d proxies/ .DPX /.tiff files - or else you end up with funky color. turn it off while grading, then turn it on for final check and output. its SLOW AS MOLLASSES - even on a hefty quadcore with tons of memory, but it does the job. Color rendition out is very clean and accurate. Turn the byte node off? it gets ugly...

 

[Ben Feuer]

So is this feasible ... ?

1. REDCINE, output with the DPX option.
2. Import DPX sequence into SHAKE/NUKE.
3. Export Cineform AVI
4. Edit Premiere CS3.

What happens to the metadata in this workflow? Can it be retrieved?