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#16 | |
Major Player
Join Date: Feb 2006
Location: Philadelphia
Posts: 795
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Quote:
interesting thing though - I just thought I'd compare this to a DVCProHD clip from a project I'm working on shot on an HPX500. I get exactly the same results as the 5D. I'm thinking this is simply a result of 8-bit conversion from NTSC-safe YCrCB to RGB - and the d90 is probably not converting to 16-235 so it doesn't display the same errors. None of them show any gaps in LAB.
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#17 |
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Join Date: May 2007
Location: Kiev, Ukraine
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#18 |
Major Player
Join Date: Feb 2006
Location: Philadelphia
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Yes, quicktime from P2 using log & transfer in FCP.
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#19 |
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Join Date: May 2007
Location: Kiev, Ukraine
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I found same problems with any mov file imported in CS3 (h.264, sorenson 3,
except mjpeg) |
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#20 |
Major Player
Join Date: Feb 2006
Location: Philadelphia
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is 76 a .mov with mjpeg? or an avi like the nikon footage? I know there are some issues with quicktime clipping superwhite values on export from FCP, I'm wondering if this is related.
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#21 | |
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Join Date: May 2007
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Quote:
h**p://finalpass.net/videos/MJPEG_test/MJPEG-720p-2MBps.mov |
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#22 |
Regular Crew
Join Date: Jan 2007
Location: Novosibirsk, Russia
Posts: 46
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As we see the problem at the moment:
- 5D Mark II writes signal in QuickTime H.264 MOV-file in its full quality. - Apple QuickTime Player can adequately display these MOV-files. - But most NLE,s (Edius, Vegas, Premiere, After Affects, ...) perceive these MOV-files in a distorted form (see attached image): --- Shadows and Highlights is lost (red zone); --- The subtle gradations is lost (gaps in the histogram). It is pretty much a known problem 'quicktime gamma shift' (search Google). For example: DV - Columns - Brighter Whites; Richer Colors, Part 1 Either we are waiting for improvements in the NLE. Or need a utility that correctly converts MOV-files in a format suitable for NLE. The decision has not yet been found. |
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