I have some questions about workflows beyond using the 422 broadcast color sample rate. I have 444 material from a tape that I am capturing and my output from FCP ends up being different than what comes out of the frame converter on the deck. I typically do these workflows on the Smoke but I wanted to do this in Final Cut.
When I capture material in the Smoke it seems pretty straight forward to me. I capture material without "Headroom" in the Smoke I capture 0 to 700mv voltages to the values of 0 to 1023 to an uncompressed RGB file? Then when I want to capture values above and below this range I use with "Headroom" on the Smoke so the true black values now lie at the higher value of 64 within the RGB file? Then when I output I need to have without "Headroom" or with "Headroom" chosen so the values are mapped properly on output.
Please correct me if I misunderstand the process correctly.
How do you set these options in Final Cut Pro? When does it switch between RGB and YUV processing?
Is the "Headroom" and without "Headroom" the same thing as Full Range vs the SMPTE range?
Do some HDCAMSR decks work at 444 RGB and 444 YCbCr?
What are the different 10-bit RGB and RGBA outputs used for?
The HDCAM SR 4:4:4 signal is RGB, not YCbCr.
I'm trying to figure out other signal mapping issues between AVID and FCP as seen in my post below and in the Broadcasting forum...
However, for your case, if you've properly captured with a 4:4:4 codec over dual link from the HDCAM SR, check out your settings here:
Go to sequence settings and then the tab for video processing. Here you can choose to work in RGB or YUV.
Let me know if that helps...
Senior Broadcast Videotape Operator
The problem with Prores 444 is that is a half developed codec. You have no option to choose Full Range/ Video Range.
The codec supports YUV and RGB, but you can not choose. You simply can't convert Prores 444 RGB to Prores 444 YUV on QT.
[Chad Brewer]"Go to sequence settings and then the tab for video processing. Here you can choose to work in RGB or YUV."
And this is the real problem. If you render your Prores 444 RGB (10b), the stuff will be crunched to 8b RGB. FC renders RGB only at 8b.
Cut and export without recompression, or sending to Color/Compressor/Shake, should be OK.