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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Banding Trouble

ThomtheEditor

ThomtheEditor

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Ok so picked up a quick B&W music video job tonight, director really wants to push the whites to make them 'glow',

everything looks great

render proresHQ

everything looks great

go to export to tape; banding in cross dissolves and dips to black; crazy banding! Has anyone come across this or found a solution; right now i'm rendering selects to every available codec at my disposal and changing every possible option for each one for render settings within fcp; HELP!

thanks in advance!

***UPDATE***
Doing some research i saw a few suggestions for this; for some reason introducing grain has helped a bit; still some banding on transitions; quite annoying, any explanation/logic behind the grain working would be much appreciated
 
If you have it maybe give After Effects CS4 with the RED plug-in a try. I was doing some lens flares against black the other day and everything except AE gave horrible banding. Be sure to work directly with the RAW files in AE and do all color there as well.
 
Adding grain is "dithering" - a well known work around for hiding banding in bit depth limited information. Google "dithering" for more information.
 
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guys, thanks for the saturday reply, we already did all the color work in color (i know it's only black and white contrast pushing but we had the director, editor, and artist all in one room for one night only with a fair amount of 2ndary work that would be more than tedious to recreate), my main problem is in the dissolves and and dips to black there's no viable banding in the actual footage as it comes out from color only on real time playback/renders of fcp transitions (yes i tried all the different rendering solutions with various codecs RGB with kona 10-bit; high precision yuv with proresHQ, 10-bit UC, & prores 4^4. Broadcast monitoring on 10-bit JVC LCD, also visible on cinema display, but it's my understanding that those are only 8-bit monitors.
 
Are you using a 10 bit uncompressed codec in FCP or are you using a more lossy codec. Also, try using the pen tool to create your cross dissolves in FCP and Layer your clips instead of applying a cross dissolve. See if that helps at all.

Have you rendered your effect? Does you have your render settings to 10bit High Precision? Could be your monitoring solution but than again, it could be the way FCP handles and renders its effects.
 
Thom, if you are using FCP 6 you may run into this problem. Many of the effects in FCP can only render in 8 bit, so they are truncated.

See pages III-241 and II-389 of the FCP manual for a full list of which transitions, effects and filters can render in high precision.
 
Yes we're on with fcp7; have another project in first thing this morning and will try opacitiy dissolves; wasn't something i was able to think of at 1am after 14 hours of coloring!; although as far as i know simple transitions should be 10-bit; we're finishing proresHQ; but after seeing the banding attempted tests in 10 bit UC; kona 10 bit RGB; & pro-res 4^4 all with identical results. I'm fairly certain it's just is what it is; super clean red 4k on black and white finishing, just overkill blah, thanks for the help though!
 
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