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Re: 444 Codec & Video Processing

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Rivai Chen
Re: 444 Codec & Video Processing
on Apr 2, 2010 at 3:57:16 am

Hi gary

I dont understand what you're really saying. FCP can only set to high-precision YUV or RGB 8 bit. That part is true but you claimed it as not true.

If via hardware, i know AJA KONA 3 delivers RGB 10bit codec. For smoke, we are working with internal dpx file. But this is FCP that we're discussing here. i find there's no way to have such setting RGB 10bit even if you have the AJA hardware.

So what suggested hardware and setting are you proposing in Final Cut ?

The original content is comes from RED 12bit linear and it's RAW. If you convert the RAW at highend format say Cineform. I would like very much to maintain it until the final export to DPX via gluetools.

Here's the answer i just got from David Taylor Cineform :
The underlying answer is a bit complicated, and I’d rather not write an essay, but FCP can render in deep precision if the underlying (de)compressor supports a certain floating-point 444 YUV pixel format called R4FL. As you may know you can convert losslessly between YUV 444 and RGB if you use floating-point math. So FCP requests floating-point YUV 444 from CineForm compression (even though we store RGB), so we perform the conversion from our 12-bit RGB format to floating-point YUV before handing the requested data to FCP. So there is some color transformation going on, but it uses floating point math, and that is how FCP maintains deep precision. The destination for the floating-point 444 YUV must of course be able to handle that format as its source (which CineForm does). If any link in the chain can’t handle FP then the whole chain drops back to 8 bit. In our experience few workflows through FCP are greater than 8 bits, but CineForm maintains deep precision throughout.


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