I am seeing a lot of information online about 10bit workflow in Premiere Pro, yet there's an issue with import/export or waveform monitor I cannot quite understand.
When I upload a prores 4444xq file and check the lumetri scopes I am seeing banding
I basically tried to use PP to convert a bunch of 16-bit TIFFs into 10bit prores to make a more workable file. So this file (waveform of which you see) was exported from PP CC, at export I specified "Maximum depth", chose 64 bit, no gamma correction, and maximum render quality.
When I loaded the original 16 TIFF sequence I saw a beautiful smooth waveform without any hints of bands.
I also repeated the process in Adobe AE, adjusted all settings to 10bit in import and export (even tried trillions of colours), yet the result was the same.
Interestingly, I am not seeing banding in Prores 422 exported from either DaVinci or PP.
Anyone has had similar issues? Does Premiere have some problems with 4444xq?
I'm seeing a similar issue, but only when transcoding to ProRes422 and ProRes422(HQ). ProRes4444 matches the original video's RGB parade.
In Premiere Pro CC, I'm laying the MXF camera files from the Sony FS7 (1080p29.97 / XAVC-I codec) in a 1080p 29.97fps timeline and exporting to ProRes. Here's what the RGB Parade looks like for the original footage (.mxf file) followed by the exported ProRes422 (and HQ) .mov file--notice the missing bands of color in the latter. The ProRes4444 matches the original. What's going on here? Why are the ProRes422 and 422(HQ) codecs losing colors?