Wraptor DCP and missing Maximum Bit Depth option

DCPs are made from 12bit JPEG200 frame files wrapped is a MFX container. But there is no Maximum Bit Depth option in Wraptor DCP codec for AME8.
Does it means:
1. Wraptor DCP has by default Maximum Bit Depth checked on, so it correctly produces high depth color renders?
2. OR, Wraptor DCP ignores AME Maximum Bit Depth, so it always renders in 8 bits and than scale up to 12bits (what is a waste of information)?
The following article implies that option 2 is the correct case, what would be a shame for a such quality demand workflow as DCP production.
The Video Road – Understanding Color Processing: 8-bit, 10-bit, 32-bit, and more

Wraptor DCP output is not working for me on a feature length film. Am I missing something?
Symptom: simply hangs at various stages of the job. No message, never crashes... just STOPS on one frame and never resumes.
Hardware:
OSX 10.9.2 on MacPro late 2013
Going to try it with an older machine. Any suggestions?

Similar Messages

Maximum Bit Depth /Maximum Render Quality Questions

Maximum Bit Depth
If my project contains high-bit-depth assets generated by high-definition camcorders, I was told to select Maximum Bit Depth because Adobe Premiere Pro uses all the color information in these assets when processing effects or generating preview files. I'm capturing HDV using the Matrox RTX-2 Hardware in Matrox AVI format.
When I finally export my project using Adobe Media Encoder CS4, will selecting Maximum Bit Depth provide better color resolution once I post to Blu-ray format?
Maximum Render Quality
I was told that by using Maximum Render Quality, I maintain sharp detail when scaling from large formats to smaller formats, or from high-definition to standard-definition formats as well as maximizes the quality of motion in rendered clips and sequences. It also renders moving assets more sharply. It's my understanding that at maximum quality, rendering takes more time, and uses more RAM than at the default normal quality. I'm running Vista 64 Bit with 8 GIGs of RAM so I'm hoping to take advantage of this feature.
Will this also help to improve better resolution when I finally export my project using Adobe Media Encoder CS4 and post to Blu-ray format?
Does it look like I have the specs to handle Maximum Bit Depth and Maximum Render Quality when creating a new HDV project with the support of the Matrox RTX 2 Hardware capturing in Matrox AVI format? See Below Specs.
System Specs
Case: Coolmaster-830
Op System: Vista Ultima 64 Bit
Edit Suite: Adobe Creative Suite 4 Production Premium Line Upgrade
Adobe Premiere Pro CS 4.0.1 update before installing RT.X2 Card and 4.0 tools
Performed updates on all Adobe Production Premium Products as of 03/01/2009
Matrox RTX2 4.0 Tools
Main Display: Dell 3007 30"
DVI Monitor: Dell 2408WFP 24"
MB: ASUS P5E3 Deluxe/WiFi-AP LGA 775 Intel X38
Display Card: SAPPHIRE Radeon HD 4870 512MB GDDR5 Toxic ver.
PS: Corsair|CMPSU-1000HX 1000W
CPU: INTEL Quad Core Q9650 3G
MEM: 2Gx4|Corsair TW3X4G1333C9DHXR DDR3 (8 Gigs Total)
1 Sys Drive: Seagate Barracuda 7200.11 500GB 7200 RPM 32MB
Cache SATA 3.0Gb/s
2 Raid 0: Seagate Barracuda 7200.11 500GB 7200 RPM 32MB Cache SATA 3.0Gb/s Using Intel's integrared Raid Controller on MB

Just some details that i find useful on maximum render depth
You really need it even with 8bit source files, when using heavy grading/multiple curves/vignettes. If after grading you see banding, go to sequence > sequence settings from the top menu and check "maximum bit depth (ignore the performance popup), then check again your preview (it will change in a second) to see if banding is still present in 32bit mode. If no banding, you must check it when exporting, if banding is still there, change your grading, then uncheck it to continue with editing.
Unfortunately Maximum bit depth exporting is extremely time-consuming, but can really SAVE YOUR DAY when facing artifacts after heavy grading, by completely or almost completely eliminating banding and other unwanted color distortions.
Use it only for either small previews or the really final output.
Best Regards.

Turning on Render at Maximum Bit Depth and Maximum Render Quality crashes render every time

I've tried a few times to render an H264 version of my Red media project with Maximum Bit Depth and Maximum Render Quality. Premiere crashes every time. I have GPUs enabled. Are people using these settings with Red media and successfully rendering?

To answer your specific question did you see the tooltip?
I beleive it allows for 32-bit processing (16-bit if unchecked). Per the project settings help file at http://helpx.adobe.com/premiere-elements/using/project-settings-presets.html
Maximum Bit Depth
Allows Premiere Elements to use up to 32‑bit processing, even if the project uses a lower bit depth. Selecting this option increases precision but decreases performance.
The help file for export is somewhat less informative about what it actually does but does point out that it is the color bit depth - http://helpx.adobe.com/media-encoder/using/encode-export-video-audio.html
(Optional) Select Use Maximum Render Quality or Render At Maximum Bit Depth. Note: Rendering at a higher color bit depth requires more RAM and slows rendering substantially.
In practice the simplest suggestion is to export twice - once with / once without the setting and compare the time taken and perceived quality.
Cheers,
Neale
Insanity is hereditary, you get it from your children
If this post or another user's post resolves the original issue, please mark the posts as correct and/or helpful accordingly. This helps other users with similar trouble get answers to their questions quicker. Thanks.

Maximum bit depth-maximum render quality when dynamic linking

Hi
A bit confused by the use of Maximum bit depth and Maximum render quality as used both in Sequence Settings and also as options when rendering in AME.
1 Do you need to explicitly enable these switches in the sequence for best quality or, do you simply need to switch them on in AME when you render in Media Encoder?
2 When dynamic linking to After Effects, when should you use an 8 bit vs 16 or 32 bit working space, and, how does this bit depth interact with the maximum bit depth, maximum render quality in PPro?

Hi jbach2,
I understand your confusion. I'm like that most of the time I'm working. *chuckle* The two settings you mentioned are two completely different parameters affecting (or is it effecting) your video. You do not need to enable them within the sequence itself unless you want to preview video on you program monitor at the highest quality. I personally don't recommend it, as it's a tremendous resource hog, (the program even warns you when you try to click them) and unessecary for improving final output. Again, do not enable these options in your sequence settings if you are only wanting a high quality export. Doing so will greatly reduce your editing performance unless you have a high-end system. ...and even then I don't think its worth it unless you're editing on a huge screen with a Director who wants to see everything at a maximum quality during the edit process.
Keeping it simple...
Resizing your final output video? Use Maximum bit depth.
Starting or working with high bitdepth sources? Use Max Bit Depth.
When/where do I enable these? In the AME only. ^_^
Why?:
Enabling the Max bit and Max render only needs to be done when you are exporting. They both serve different functions.
Max Render aids in the scaling/conversion process only. My understanding is that you never need to enable the Max Render Quality (MRQ) unless you are exporting in a format/pixel ratio different from your original video. For example, when rendering a 1080p timeline out to a 480p file format, you'll want to use MRQ to ensure the best scaling with the least amount of artifacts and aliasing. If you're exporting at the same size you're working with, DON'T enable MRQ. It will just cost you time and CPU. Its only function is to do a high quality resizing of your work.
Maximum bit depth increases the color depth that your video is working with and rendering to. If you're working with video that has low color depth, then I don't believe it will matter. However, if you're working with 32 bit color on your timeline in PPro and/or After Effects, using lots of graphics, high contrast values, or color gradients, you may want to enable this option. It ultimately depends on the color depth of your source material.
The same applies to After Effects.
Create something in AE like a nice color gradient. Now switch the same project between 8,16,32 bit depth, and you will see a noticable difference in how the bit depth effects your colors and the smoothness of the gradient.
Bit depth effects how different plugins/effects change your overall image. Higher depth means more colors to work with (and incidentally, more cpu you need)
Just remember that "DEPTH" determines how many colors you can "fill your bucket with" and "QUALITY" is just that, the quality of your "resize".
http://blogs.adobe.com/VideoRoad/2010/06/understanding_color_processing.html
Check out this adobe blog for more info on color depth ^_^ Hope that helps!
----a lil excerpt from the blog i linked to above---
Now, 8-bit, 10-bit, and 12-bit color are the industry standards for recording color in a device. The vast majority of cameras use 8-bits for color. If your camera doesn’t mention the color bit depth, it’s using 8-bits per channel. Higher-end cameras use 10-bit, and they make a big deal about using “10-bit precision” in their literature. Only a select few cameras use 12-bits, like the digital cinema camera, the RED ONE.
Software like After Effects and Premiere Pro processes color images using color precision of 8-bits, 16-bits, and a special color bit depth called 32-bit floating point. You’ve probably seen these color modes in After Effects, and you’ve seen the new “32″ icons on some of the effects in Premiere Pro CS5.
jbach2 wrote:
Hi
A bit confused by the use of Maximum bit depth and Maximum render quality as used both in Sequence Settings and also as options when rendering in AME.
1 Do you need to explicitly enable these switches in the sequence for best quality or, do you simply need to switch them on in AME when you render in Media Encoder?
2 When dynamic linking to After Effects, when should you use an 8 bit vs 16 or 32 bit working space, and, how does this bit depth interact with the maximum bit depth, maximum render quality in PPro?
Message was edited by: SnJK

Wraptor DCP and 5.1

I have used Wraptor to create a DCP. The vision is fine but the 5.1 is being a pain. I put the .wav tracks into PP in the order: 1 - L, 2 - R, 3 - C. 4 - LFE, 5 - Ls, 6 - Rs. I checked the 5.1 in the export dialogue and got something strange. Using Audacity to open the audio .mxf I found 1 & 2 might be a mono mix of the L & R 3 & 4 were bare and 5 & 6 seemed to be the same as 1 & 2. I then searched for more info and found that the manual for Wraptor seems to only refer to FCP and Comressor. The Compressor instructions were to put the 5.1 into AES stereo pairs: 1 = L/R, 2 = C/LFE, 3 = Ls/Rs but that seems to deliver similar results. Do I need to format for 5.1 in PP?
cheers

im not familiar with the wraptor program, but maybe you need the mixer and a custom multichannel sequence to assign each track to a channel out. here is a link to the multichannel in premiere if you want. The Video Road – Multichannel Audio in Premiere Pro

Bit Depth and Render Quality

When you finally export media to some sort of media format via the encoder does the projects preview Bit Depth and Render Quality settings affect the output file?
I know there is "Use Preview files" setting in the media exporter dialogue but I just want to be sure of what I am doing.

Jeff's response is my perspective, as well, which is both backed up by my own tests and the official Adobe word.
Exhibit A: My Tests
That is DV footage with a title superimposed over it in a DV sequence, with a Gaussian blur effect (the Premiere accelerated one) applied to the title; all samples are from that sequence exported back to DV. This was to show the relative differences of processing between software and hardware MPE, Premiere export and AME queueing, and the effect of the Maximum Bit Depth and Maximum Render Quality options on export (not the sequence settings; those have no bearing on export).
The "blooming" evident in the GPU exports is due to hardware MPE's linear color processing. I think it's ugly, but that's not the point here. Further down the line, you can see the effect of Maximum Bit Depth (and MRQ) on both software MPE and hardware MPE. I assume you can see the difference between the Maximum Bit Depth-enabled export and the one without. Bear in mind that this is 8-bit DV footage composited and "effected" and exported back to 8-bit DV. I don't understand what your "padding with zeroes" and larger file size argument is motivated by--my source files and destination files are the same size due to the DV codec--but it's plainly clear that Maximum Bit Depth has a significant impact on output quality. Similar results would likely be evident if I used any of the other 32-bit enabled effects; many of the color correction filters are 32-bit, and should exhibit less banding, even on something 8-bit like DV.
Exhibit B: The Adobe Word
This is extracted from Karl Soule's blog post, Understanding Color Processing: 8-bit, 10-bit, 32-bit, and more. This section comes from Adobe engineer Steve Hoeg:
1. A DV file with a blur and a color corrector exported to DV without the max bit depth flag. We
will import the 8-bit DV file, apply the blur to get an 8-bit frame,
apply the color corrector to the 8-bit frame to get another 8-bit frame,
then write DV at 8-bit.
2. A DV file with a blur and a color corrector exported to DV with the max bit depth flag. We
will import the 8-bit DV file, apply the blur to get an 32-bit frame,
apply the color corrector to the 32-bit frame to get another 32-bit
frame, then write DV at 8-bit. The color corrector working on the 32-bit
blurred frame will be higher quality then the previous example.
3. A DV file with a blur and a color corrector exported to DPX with the max bit depth flag. We
will import the 8-bit DV file, apply the blur to get an 32-bit frame,
apply the color corrector to the 32-bit frame to get another 32-bit
frame, then write DPX at 10-bit. This will be still higher quality
because the final output format supports greater precision.
4. A DPX file with a blur and a color corrector exported to DPX without the max bit depth flag.
We will clamp 10-bit DPX file to 8-bits, apply the blur to get an 8-bit
frame, apply the color corrector to the 8-bit frame to get another
8-bit frame, then write 10-bit DPX from 8-bit data.
5. A DPX file with a blur and a color corrector exported to DPX with the max bit depth flag.
We will import the 10-bit DPX file, apply the blur to get an 32-bit
frame, apply the color corrector to the 32-bit frame to get another
32-bit frame, then write DPX at 10-bit. This will retain full precision through the whole pipeline.
6. A title with a gradient and a blur on a 8-bit monitor. This will display in 8-bit, may show banding.
7. A title with a gradient and a blur on a 10-bit monitor
(with hardware acceleration enabled.) This will render the blur in
32-bit, then display at 10-bit. The gradient should be smooth.
Bullet #2 is pretty much what my tests reveal.
I think the Premiere Pro Help Docs get this wrong, however:
High-bit-depth effects
Premiere Pro includes some video effects and transitions
that support high-bit-depth processing. When applied to high-bit-depth
assets, such as v210-format video and 16-bit-per-channel (bpc) Photoshop
files, these effects can be rendered with 32bpc pixels. The result
is better color resolution and smoother color gradients with these
assets than would be possible with the earlier standard 8 bit per
channel pixels. A 32-bpc badge appears
to the right of the effect name in the Effects panel for each high-bit-depth
effect.
I added the emphasis; it should be obvious after my tests and the quote from Steve Hoeg that this is clearly not the case. These 32-bit effects can be added to 8-bit assets, and if the Maximum Bit Depth flag is checked on export, those 32-bit effects are processed as 32-bit, regardless of the destination format of the export. Rendering and export/compression are two different processes altogether, and that's why using the Maximum Bit Depth option has far more impact than "padding with zeroes." You've made this claim repeatedly, and I believe it to be false.
Your witness...

Final cut pro millions of colours + bit depth question

Hello
I am working in final cut pro 7 and I wanted to know what is the maximum bit depth I can export using the Prores codec? All I see in compression settings for rendering my timeline when wanting to render with Prores 4444 is the option for 'millions of colors' and 'millions of colors +' I was under the impression that millions of colors refered to 8 bit... does the alpha channel mean I can get 10 bit? can the alpha channel hold 2 more bits per channel or something? Or is there no way I can export a 10bit file using the Prores codec within fcp7..? is it all just 8bit. -and when I select 422HQ there is no advanced options for millions of colors..what does this mean? is the only way to get 10bit out of fcp7 to render with the 10bit uncompressed codec? and if so can I render the timeline in prores while im working with it then delete all the renders and change the render codec to 10bit uncompressed, will this now be properly giving me 10bit from the original 4444 12 bit files i imported in the beginning..?
Any help is much appreciated

ProRes is 10-bit. Every ProRes codec is 10-bit...LT, 422, HQ. Not one of them is 8-bit. Except for ProRes 444...that's 12 bit.

Filter / Sort by Bit Depth? (16 bit vs 8 bit)

I am looking for a way to use the Filter panel to sort/filter results by bit depth (16 bit vs 8 bit images) - is there a way to do this Bridge CS4? I have looked in every part of the sorting mechnisms and can't find a way. Am I missing something?

Unfortunately there is no such way in the filter panel, it might be a good
feature request, maybe you can add that using the link at the main page on
this forum.
In the meantime there are 2 possible workarounds. Regarding the fact that a
16 bit is twice the size of an 8 bit you might want to use the sort by size
criterion in the Path Bar but when having different source files or layered
files that might not always be sufficient.
If you use the find command (cmd+F / or menu Edit-Find) you can select the
find by bit depth option. Also select the option to equal and use either the
number 8 or 16.
I am looking for a way to use the Filter panel to sort/filter results by bit
depth (16 bit vs 8 bit images) - is there a way to do this Bridge CS4? I have
looked in every part of the sorting mechnisms and can't find a way. Am I
missing something?

Creative Audigy 2 NX Bit Depth / Sample Rate Prob

This is my first post to this form
Down to business: I recently purchased a Creative Audigy 2 NX sound card. I am using it on my laptop (an HP Pavilion zd 7000, which has plenty of power to support the card.) I installed it according to the instructions on the manual, but I have been having some problems with it. I can't seem to set the bit depth and sample rate settings to their proper values.
The maximum bit depth available from the drop down menu in "Device Control" -> "PCI/USB" tab is 6 bits and the maximum sample rate is 48kHz. I have tried repairing and reinstalling the drivers several times, but it still wont work. The card is connected to my laptop via USB 2.0.
I looked around in the forms and found out that at least one other person has had the same problem but no solution was posted. If anyone knows of a way to resolve this issue I would appreciate the input!
Here are my system specs:
HP Pavilion zd 7000
Intel Pentium 4 3.06 GHz
GB Ram
Windows XP Prof. SP 2
Thnx.
-cmsleimanMessage Edited by cmsleiman on -27-2004 09:38 PM

Well, I am new to high-end sound cards, and I may be misinterpreting the terminology, but the sound card is supposed to be a 24bit/96kHz card.
I am under the impression that one should be able to set the output quality of the card to 24bits of depth and a 96kHz sample rate, despite the speaker setting that one may be using, to decode good quality audio streams (say an audio cd or the dolby digital audio of a dvd movie.) I can currently achieve this only on 2. speaker systems (or when i set the speaker setting of the card to 2.) Otherwise the maximum bit depth/sample rate I can set the card output to is a sample rate of 48kHz and a bit depth of 6bits.
Am I mistaken in thinking that if I am playing a good quality audio stream I should be able to raise the output quality of the card to that which it is advertised and claims to have?
Thnx

Bit Depth & Sample Rate: 24 bit 96kHz? 192kHz?

I am using the Apogee Duet for Mac and iOS on my Mac and I love it - I'm thinking about getting an iPad for mobile recording (voice overs, mostly) and I wonder if Garage Band can manage 24 bit audio at 96 kHz or 192 kHz? I know that the Auria app can, so if nothing else I can just buy that, but since all I would use the iPad for is Voice Overs to edit later in a computer, a $50 app feels like overkill. Comments? Thoughts? Specs?

Well, I am new to high-end sound cards, and I may be misinterpreting the terminology, but the sound card is supposed to be a 24bit/96kHz card.
I am under the impression that one should be able to set the output quality of the card to 24bits of depth and a 96kHz sample rate, despite the speaker setting that one may be using, to decode good quality audio streams (say an audio cd or the dolby digital audio of a dvd movie.) I can currently achieve this only on 2. speaker systems (or when i set the speaker setting of the card to 2.) Otherwise the maximum bit depth/sample rate I can set the card output to is a sample rate of 48kHz and a bit depth of 6bits.
Am I mistaken in thinking that if I am playing a good quality audio stream I should be able to raise the output quality of the card to that which it is advertised and claims to have?
Thnx

Maximum Bit Rate help

I have been trying to find the best bit rate settings to display from a USB drive on an Xbox 360 or PS3. I found the recommended settings but the maximum bit rate that I set it at, is always exceeded during playback.
For example if I am using the h.264 codec with the bit rate settings of VBR and the maximum bit rate set for 10 Mbps, my bit rate will always spike way higher then 10 Mbps during scenes with more movement. A scene where I'm pointing my camera out of a moving car with houses going by displayed a bit rate of 38.8. In case anyone is wondering I use the bit rate counter on my PS3 to find the bit rate at any give time.
Now When the bit rate spiked at 38.8 for that scene, it dipslayed fine on my PS3, but when played back on my Xbox it stutters a little at that moment.
If I use a CBR of 10 Mbps the bit rate still goes quite a bit over 10 Mbps but didn't approach 40 Mbps like it does when using a variable bit rate. When using a CBR it played back flawlessly on both devices but there was a little drop in quality.
Is there something I am doing wrong or is this just how it works? I assumed the target bit rate is what you are shooting for and the maximum bit rate would never be exceeded. Is that not the case?

I took that it could be inaccurate in to consideration but when I play a blu-ray back the bit rate usually fluctuates between 25-35 Mbps so I assumed the readings were pretty accurate.
I'll try the VLC player as you suggested when I get home. Does it show you the bit rate during playback, the average bit rate, or what?
Also if I set my maximum bit rate to 10 Mbps should it never exceed that?

IPad's Bit Depth ?

As a color professional, I am wondering what the supported (viewable and usable) color bit depth is of the iPad?

This article may help, I think it says 24:
http://www.anandtech.com/show/3640/apples-ipad-the-anandtech-review/7

IPhone's Bit Depth ?

As a color professional, I am wondering what the supported (viewable and usable) color bit depth is of the iPhone 4?

Tech specs page didn't help
http://www.apple.com/iphone/specs.html

Maximum audio sample rate and bit depth question

Anyone worked out what the maximum sample rates and bit depths AppleTV can output are?
I'm digitising some old LPs and while I suspect I can get away with 48kHz sample rate and 16 bit depth, I'm not sure about 96kHz sample rate or 24bit resolution.
If I import recordings as AIFFs or WAVs to iTunes it shows the recording parameters in iTunes, but my old Yamaha processor which accepts PCM doesn't show the source data values, though I know it can handle 96kHz 24bit from DVD audio.
It takes no more time recording at any available sample rates or bit depths, so I might as well maximise an album's recording quality for archiving to DVD/posterity as I only want to do each LP once!
If AppleTV downsamples however there wouldn't be much point streaming higher rates.
I wonder how many people out there stream uncompressed audio to AppleTV? With external drives which will hold several hundred uncompressed CD albums is there any good reason not to these days when you are playing back via your hi-fi? (I confess most of my music is in MP3 format just because i haven't got round to ripping again uncompressed for AppleTV).
No doubt there'll be a deluge of comments saying that recording LPs at high quality settings is a waste of time, but some of us still prefer the sound of vinyl over CD...
AC

I guess the answer to this question relies on someone having an external digital amp/decoder/processor that can display the source sample rate and bit depth during playback, together with some suitable 'demo' files.
AC

Apple Pro Res 422 HQ export - "render at max depth" and "24 bit or 48 bit depth"?

I'm exporting my 90 minute feature for DCP using the Apple Pro Res 422 HQ codec. The film is 1920x1080 and that is what the export will be. We used a variety of cameras (Canon 7D, Sony XR160, GoPro, Blackmagic in HD) for the film.
For the export options:
Do I check "Render at Maximum Depth"?
Which do I choose - 24 bit or 48 bit depth? - one has to be chosen even when "Render at Maximum Depth" is unchecked
When I asked the DCP house, they said that "Render at Maximum Depth doesn't actually do anything when using this codec" and haven't answered the 24 vs. 48 bit question.
This discussion:
https://forums.adobe.com/message/4529886#4529886
says that you "never need to enable the Max Render Quality (MRQ) unless you are exporting in a format/pixel ratio different from your original video."
This discussion:
https://forums.adobe.com/message/5619144#5619144
adds insight into what 24 vs 48 bit depth means, but doesn't answer my specific question
Thanks for your help.

For your reading enjoyment -
http://forums.adobe.com/message/4529886
http://images.apple.com/finalcutpro/docs/Apple_ProRes_White_Paper_October_2012.pdf
A question for you - what is your workflow where you think you might need this? Keep in mind that the majority of cameras only record 8-bit color, and also in a very highly compressed format, so you won't necessarily gain anything by going to 4444, as the source video is of limited quality already.
Basically, if you don't have any high-bit-depth sources in your timeline to preserve the quality of, there may be little or no benefit to enabling "Max Depth".
Thanks
Jeff Pulera
Safe Harbor Computers

Wraptor DCP and missing Maximum Bit Depth option

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