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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 :)

The Other Big Mistake

Nick Shaw said:
I've found 16 bit REDlogFilm DPX to be a very good compromise. If there are systems out there that give real-time performance (without cacheing first) working with EXR files, I haven't used one. 16 bit log DPX gives the performance of working with an integer file format, but doesn't constrain you to the 0-1 range, and doesn't run up against the granularity limit of 10 bits.
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Nick, I had understood that 10 bits was part of the DPX file spec. Do I just have that wrong? Or has the spec changed? I think 16-bit DPX would be both a good working format and a good, platform-agnostic archival format. But only if it is a real standard.
 
D Fuller said:
Nick, I had understood that 10 bits was part of the DPX file spec. Do I just have that wrong? Or has the spec changed? I think 16-bit DPX would be both a good working format and a good, platform-agnostic archival format. But only if it is a real standard.
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16 bit is allowed in the DPX standard, although 10 bit is most commonly used. This means that not all applications support 16 bit DPX files. For example I know that Baselight and Nuke support 16 bit DPXs, but After Effects does not. This means that I find it a useful working format within a known workflow, but it is not necessarily an ideal archive format if you need it to be universally accessible.

That said, many formats are implemented to greater and lesser degrees in different applications. I don't mean to pick on After Effects, but I have had issues in the past with EXRs from Nuke opening incorrectly in After Effects due to Nuke supporting some of the more sophisticated aspects of EXR which After Effects does not.
 
I'm sure there are times when 16 bit is helpful. But I personally haven't run into them. I'm perfectly happy with Quicktime Prores 444 (12 bit). 12 bit is considerably more data than 10 bit dpx (4 times if my math is right), and is ridiculously easy to work with, works with everything, and has a low enough bitrate that we an do most of our editing over simple 1GB ethernet.

We go to Prores and never look back. (Though thanks to RED RAW and some of the aforementioned software, we love that we can if we have a reason to).
 
guys, there's a lot of movement towards 32-bit EXR's in the visual effects industry, I wouldn't be surprised if we didn't all inherit some of that.

point is, don't get too comfortable with 12 or 16 bit workflows, and certainly don't be uncomfortable with them.
 
DCP can handle up to 12bit as I know... please correct me if I'm wrong... would be great to get full 16bit color depth into a 12bit dcp....
we have here a full linear pipeline and it works also great to give the linear source then on the arri laser.... the log/lin LUT in the grading linearise redlogfilm well, so we have then a source from what we can master everything...
 
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