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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 :)

de-Moire on wrapped QT

Kaku Ito

Kaku Ito

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I was working around with footage shot in grass field and noticed a lot of moire in wrapped QT on FCP. I tried to apply RSX that I saved in RED Alert! to have least moire but it still shows a lot. This would make editing session little difficult in front of clients. I sent the edit to Color and reset the RED Room, applied some color grading and 10-bit 422 looked fine, but I was wondering if anyone else can figure out less moire on the native QT session.

I'm thinking converting clips with RED Rush as offline (along with assigning RSX made by RED Alert!), then replace them with wrapped QT (just by making them offline and replace with wrapped QT) is probably more assured workflow?

I also hope we can render with 444 formats in Color in the future.
 
Mark L. Pederson said:
You CAN render to AJA 10-bit RGB now in RedRushes.
Click to expand...

Mark,

Thanks, that's what I've been doing (Blackmagic instead), but R3D directly in Color and 444 out is what I want.
 
Kaku Ito said:
Mark,

Thanks, that's what I've been doing (Blackmagic instead), but R3D directly in Color and 444 out is what I want.
Click to expand...

I don't do Color - so ... forgive me if this is a stupid question ... you can't render DPX out of Color??? You can't render 10-bit RGB Blackmagic/AJA?

Just trying to understand exactly what you want to do that you can't -
 
Mark L. Pederson said:
I don't do Color - so ... forgive me if this is a stupid question ... you can't render DPX out of Color??? You can't render 10-bit RGB Blackmagic/AJA?

Just trying to understand exactly what you want to do that you can't -
Click to expand...

The original problem that I posted is sever moire on wrapped QT during offline editing session.

Not being able to output 444 from color is another issue but I wanted to Apple to hear.

Yes, you can render DPX out of Color, so for that kind of workflow it's not a problem. Since some clients ask for submaster HDCAMSR, that is when I need 444 output.

I've been using RED Alert!/RED Rush/FCP/Blackmagic Multibridge Pro combination for such work until now, but control in COLOR is so much better and I wanted to directly to 444.
 
Kaku Ito said:
I've been using RED Alert!/RED Rush/FCP/Blackmagic Multibridge Pro combination for such work until now, but control in COLOR is so much better and I wanted to directly to 444.
Click to expand...

can't you output Dual Link via the Blackmagic Multibridge Pro - I swear you can get Dual Link out with the Kona 3 from Color? Anyone?
 
Mark L. Pederson said:
can't you output Dual Link via the Blackmagic Multibridge Pro - I swear you can get Dual Link out with the Kona 3 from Color? Anyone?
Click to expand...

Yes you can. But the difference on baking metadata between RED Alert!/rush from Color with R3D is big. The problem with Color not being able to output other than Prores and 422 uncompressed is already known by everybody who uses Color. You would be amazed Apple hasn't come up with update for this but it has to be in FCS3 update.
 
Kaku Ito said:
Yes you can. But the difference on baking metadata between RED Alert!/rush from Color with R3D is big. The problem with Color not being able to output other than Prores and 422 uncompressed is already known by everybody who uses Color. You would be amazed Apple hasn't come up with update for this but it has to be in FCS3 update.
Click to expand...

you say color cant output dpx 444?
it only can output prores 422 or uncompressed 422?
ok, dont know but i was able to export dpx files...
(i dont use COLOR too--but it would be nice to conform the 422 thing)
COLOR was Final Touch and asfaik Final Touch was not that bad with 2k dpx 444 files...or am i missing the obvious?
 
Yes, it does DPX, and even the dissolve issue has been fixed. Why don't you wrap the DPXs with AJA's translator for playout?
 
Color works fine with 444.

Have just had 30m minutes with the new thing yet, and there are some pitfalls, but also huge gains. AND I haven't (yet) had color crap on me once since the update.

That's a biggie :)

The way you set up color is of some importance, even though it doesn't behave as it should in "float".
 
Cüneyt Kaya said:
you say color cant output dpx 444?
it only can output prores 422 or uncompressed 422?
ok, dont know but i was able to export dpx files...
(i dont use COLOR too--but it would be nice to conform the 422 thing)
COLOR was Final Touch and asfaik Final Touch was not that bad with 2k dpx 444 files...or am i missing the obvious?
Click to expand...

No, no, no, I'm talking about QT. Want to do QT444 and master to tape via dual-link HDSDI.
 
nomad said:
Yes, it does DPX, and even the dissolve issue has been fixed. Why don't you wrap the DPXs with AJA's translator for playout?
Click to expand...

I don't use AJA but I'll see if I can do that with BM.
 
So far, I've given some good time to test 422 10-bit out from Color and I really like how it is going, so QT 444 out in Color would be enormous for the jobs that requires HDCAMSR mastering.
 
Oh man, Luca, you really made my day.

Placing the Aja444 file on to a FCP timeline with Blackmagic hardware shows the weird gamma shift but when you export it to BM 444, then it plays perfectly.

With 422 output, the layers of thin clouds in the sky looked grey on certain clips but with 444 out, that is gone, looks perfect.
 
Luca Immesi said:
I love sushi!
Click to expand...

Then here is where I'm taking you.

I took Paul and Ivan from Visceral Psyche here then they experienced first real sushi over their sushi train stuff in Australia.
 
Kaku Ito said:
Then here is where I'm taking you.

I took Paul and Ivan from Visceral Psyche here then they experienced first real sushi over their sushi train stuff in Australia.
Click to expand...

If I'll come to Japan I'll let you know. Thanks!
 
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