I have been editing in pro res but I have found the oddest thing to happen on strap lines that that are on top of footage (motion templates) or to footage that does not have a filter on it but sits on top on footage that does. Just before it gets to the the start or the end of the template or footage without a filter the footage underneath has a dark colour shift to it which lasts for a few frames but can be noticed. It can only be noticed when the time time is rendered and exported as a self contained .mov. The weird thing is when I leave the timeline unrendered and export as a self contained .mov the problem does not happen.
I was just wondering if anyone knew what could be coursing the problem, any feedback would be great.
That's smells to some gamma shifting.
Make sure that your Prores sequence is set to render in "10b YUV" or "High Precision YUV".
In Motion, go to File > Project Properties > Bit Depth and make sure is set to 16b or 32b Floating Point.
After some trial and a lot or error experimenting I found that the problem lay with the way I was converting the H264 files in compressor. With the Pro res files I was editing with when I was converting them in compressor I unticked Enable 4:4:4 chroma filtering. So I have just exported to sample files with the Enable 4:4:4 chroma filtering ticked, then I used the end of the same time line I had been editing in to do a test. I placed one clip on the the bottom track and added a filter then I placed the other clip over the top as if a cut away. then I rendered and exported this session of the timeline as a self contained movie and the problem of the color shift had gone.
Great that you found the reason of that problem.
The truth is that the "Enable 4:4:4 chroma filtering" makes no sense on a 444 codec, most of all when codec can be YUV or RGB and you can't even choose the flavor.
BTW, its makes no much sense to convert H264 to Prores 444 in Compressor.
The only app (as long as I know) that would take any advantage of the codec is 5DtoRGB, that applies real "Chroma Filtering" when resampling.
Prores422 or HQ would be OK.
The best codec for the conversion would be Apple 6b Uncompressed, but makes files too big.
[Samantha Hatton]"Thanks for your advice. I converted my H:264 files to Apple ProRes 422 (HQ), would your advice be to use 5DtoRGB to do this convention."
The process takes longer than with most other options, but if you can afford the extra time, a highly recommend you to do it.
420 codecs (H264, DV, XDCAM,..) have only one Chroma sample for every 4 pixels.
When converting to a 422 or 444, we have to recreate the Chroma that has been discharged on compression. Most applications (QT, FC, compressor, AE,..) will just average the existing values to calculate the missed information.
5DtoRGB uses a more intelligent algorithm to try to rebuild the Chroma as it was before downsampling.
The results are visible.