HDCAM SR uncompressed codec

Hi all,
I have an upcoming job where I have to remaster HDCAM SR for international sale. A large majority of the work will be tape-to-tape editing, but I need to layoff the textless graphics from FCP to tape to complete the international versions.
I have never mastered to HDCAM SR and was wondering what codec I should be using, the media needs to be completely uncompressed to ensure no loss whatsoever.
I'm using a dual-channel fibre channel storage system so datarates should not be too much of a problem.
I'll be using Blackmagic Decklink HD Pro (Dual link), and Sony SRW 5800. Will I need to use the dual link functionality of the capture card/deck???
Any help would be greatly appreciated,
Thanks
Dave
Message was edited by: kakarotbpo

Yes, the frame size for both is 1920 X 1080. Through the Aja Kona 3, single link 4:2:2 uncompressed is about 140 MB/sec, dual link 4:4:4 RGB uncompressed is about 237 MB/sec (those are the bandwidth figures using the Aja presets; I assume the BMD presets are similar.)
Because drive arrays when full deliver about half the throughput as when they are empty, your storage sub-system should benchmark at least twice the bandwidth of the codec you'll be using. In your case, your external array should be giving you nearly 500 MB/sec when empty, or you might experience dropped frames as the array fills up.
If the station or network is not using dual link 4:4:4 RGB, then it makes no sense to deliver it to them. But again, you'll need to ask them what they need.

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Uncompressed codec won't output audio.

I've had an issue over the last couple weeks with Ae CC where any time I output to uncompressed (audio) codec, no audio is attached. I've verified that my output module was set to Audio Output On. Bringing the file into Pr or back into Ae shows that there is no audio track, even though the setting should have at least made a silent audio track. This happens regardless of the audio format in my composition (.wav, .aif, .mp3), and seems to only occur with uncompressed codec. Any ideas or experience with this problem?
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- Paul

What format are you rendering to? (I'm assuming AVI?)
Your RAM previews have audio, right?
What happens if you save one of the RAM previews?
What happens if you render through the Adobe Media Encoder?
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Digital noise using Apple 10-bit uncompressed codec for NTSC, BIG PROBLEM!

I hope someone from Apple or the Shake team can shed some light on this problem we're having so we can take the appropriate corrective action ASAP to meet our strict deadlines on this current project.
We're compositing all the EFX (over 1000 EXF shots) for a massive video game project that needs to be delivered to the client by the end of May. Let me preface the following comments by saying that overall, we're very pleased with Shake and the end results we're getting, but one problem in particular has us very worried about making our deadline:
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All the 4:2:2 material exhibits (for lack of a better desciption) digital "noise" that runs along the right-hand edge of the video, with frequent drop-out "looking" sparkles that can appear anywhere in the video image. These artifacts ONLY appear when the video clips are imported into Shake, and rendered out of Shake. They play perfectly fine in FCP and QT player.
If we force the FILE-IN node to 8 bit, the problem goes away, but keying suffers - so this is not an option.
The problem ONLY occurs on our Intel Mac's, not on our older G5's. The reason we invested in the Mac Pro's for this project was to reap the performance boost we desired in order to get the project out the door by our deadline, plus the G5's are busy offlining upcoming episodes - so turning the compositing over to the G5's is also not an option.
We're already well down the road, and while we realize that at Shake's current price-point it seems silly to complain at all, we gladly would have paid more for a compositing tool if we knew we were going to run into a situation like this. Unforunately, our initial evaluation of Shake was done on our G5's which don't suffer from this issue.
If anyone from has any recommendation for an efficient way to solve or work around this issue, we'd love to hear from you.
Best regards,
Michael Buday

Not sure the exact answer, but some options to try:
1) have you tried converting the clips to image
sequences? Perhaps it's a QuickTime error.
2) How about using 2 FileIns - one at 10 bit to
generate the keys and one at 8 bit for the fill?
Patrick
<img</div>
Hello Patrick and thanks for your suggestion:
We're going to experiment with different codecs and image sequences this week to see what happens.
RE: using different FILEIN's for key/fill, is something I hadn't thought of but unfortunately the 10bit FILEIN would still be affected by the noise which would in turn affect the alpha channel created by Keylight or Primatte.
I'll let you know what we find out as things progress.
Again, thanks.
Michael
G5 Dual 1.8 GHZ Mac OS X (10.4.3) FCP 5.03, STO 1.01

5.1.1: there's still gamma shift from AE with uncompressed codec

O.k. - this issue has annoyed me for years and has caused me to come up with all sorts of silly workarounds. I saw that with 5.1.1 and the pro app update we were promised a fix for this:
Uncompressed 422
Uncompressed 422 delivers a fix for changes in color-space and/or gamma when moving clips between Final Cut Pro and Adobe After Effects and addresses a codec issue leading to drawing errors in 16bpc After Effects projects....
However, i still get the identical gamma bump as before with this $49 update. . . is this update working for anybody yet?

Sorry, I don't use that specific codec. I export footage to AE in the format I am working with, and back in the same format, typically DVCPRO HD. And I see no gamma shift.
Try the Animation codec?
Shane

8bit/10bit FCP uncompressed codec gamma

As of recently, I noticed that these 2 codecs appear fine in After Effects and FCP, although when brough into Quicktime, they appear brighter, and when even exported to Animation, they look fine. Is this just a playback issue with Quicktime?

I'm not entirely sure... The interesting thing is that I have been working with 8/10 bit uncompressed clips for a while, and I've just recently noticed this problem (having updated quicktime and 10.4.5 in the past week or so)
Basically, exporting a video out of After Effects as animation and as 8 or 10 bit give drastically different results when opened in Quicktime Player. However, when I bring them back into After Effects or FCP, they look fine, so I'm guessing this is strictly a quicktime player display issue with the FCP codecs.
I've posted a sample screenshot, 10bit on the left and Animation on the right.
http://media.21productions.com/~ageis/uncompressed.png
Inside AE or FCP, Animation and 8/10 bit are identical looking, and look like the right image.

Apple Uncompressed with BlackMagic codec installed

We have a problem with files that are in the Apple Uncompressed codec when the Black Magic codec is installed and wonder if someone here has experienced that?
With QT Player the movies plays fine but the name of the codec is empty in the info window. The sentence look like this:
", 720x576..." when it should say "Uncompressed 8-bit 4:2:2, 720x576...".
We tried to enter the Metadata information with a QT developer tool (Dumpster) and the info displays correctly in the info panel inside QT Player.
This doesn't make it better in Shake though, where we must enable "Force8bit" in the FileIn-node. If we don't do that we end up with a black picture or on some computers a perfect noise with some shades of contours.
If we uninstall the Black Magic codec we get the perfect picture in Shake but still the meta data is gone inside QT Player. We have also tried old versions of the Black Magic codec, even that old we had to flash the cards with old firmware so everything looks to point toward some QuickTime or System update. The files worked fine in november and hasn't been touched or moved since.
Anyone seen this?
Both PPC and Intels Mac OS X (10.4.8) Lates updates of everything

Yes, there seems to be an issue with blackmagic codecs and shake.
On our PowerPC computers, removing the blackmagic codec from the quicktime folder seemed to solve the problem.
But on our Intel machines, nothing seems to fix it. 8 bit footage always has digital noise. If you click the force 8bit button, it looks fine. But when rendered out using a third party plugin (The Foundry's Furnace plugins) the noise comes back.
HELP Apple and/or Black Magic!!!!

Are the ProRes codec and .MOV file no longer supported?

I posted the following over at Creative Cow with no luck... hopefully I can get answers here ...
I am on a MAC - I joined the Adobe bandwagon during the great FCP migration of 2011 ... So far it's been great but...
Both Premiere CC AND After Effects CC are not recognizing Pro Res ...heck it doesn't seem like they are recognizing QUICKTIME in general (both progams are rejecting a .MOV I have with the animation codec) ...
When I try and open up a CS6 sequence in CC I get a message saying "The preset used by one or more of the sequences in this project requires third party components that could not be located." When you click ok just to get the project open, the media is offline.
When I try and IMPORT a .MOV into Premiere CC I get "The importer reported a generic error."
When I try and IMPORT a .MOV into AE cc I get "Cannot be imported- this 'MooV' file is damaged or unsupported.
When I try a test render out of AE cc the default Format is Quicktime, but when you go to the Video Output Format Options the Video Codec has the number "0" instead of a list of codecs .... and when you click on the "0" it changes to "-1". Seriously there are NO codecs listed in the Options - No ProRes, No Animation, just the number zero.
Media Encoder obviously is essentially the same story.
This seems to be a Quicktime thing ... not JUST a ProRes thing.
CS6 has no problems working with my Mac and QT/ProRes ... so I know it's not my machine...
I really don't feel like calling India today to process a refund, but if I can't get this working on my Mac I dont need to pay for Adobe CC.

Did you know that there has been a major overhaul to prores and where\how it's installed? I've had the same issue, but I ran the following test:
I've installed the compressor, I used the cs6 prores and... ...FAILURE. I was on CS6, and it didn't work... ...Why? Tell ya in a moment... Next step:
I undid the last action by dumping the prores presets. Then I installed the cs7\cc version. Bingo.
I went and researched the problem.
Apple now includes most of the prores specification in the quicktime bundle (except their new 444). It's all in the same bundle. I looked into some workarounds people have used to get it working without pro-apps... ...they all focus on using the older prores which is installed as separate packages... ...and separate bundles. What does this mean?
If you are above 10.7 for your mac os, and you have compressor (latest), you have the prores built into the quicktime bundle. If you are 10.7 or below, and you have the version of compressor for that period (same codec, different file arrangement), you have the prores codecs all in separate bundles. They are inactive but still included in the quicktime bundle for 10.8 and above, so you couldn't use them without the right presets, along with compressor which changes the files to an actual bundle instead of a simple file inside the quicktime packaging.
If you are on later mac os and you have CS5 or above, use the CC version of the presets. If you have the older prores or an older compressor and wish to try and hack it in, you can do it, and then use the CS6 version of the presets supplied by adobe. They point to different bundles in the system. I use both, on different machines. IF you have cs5, you may want to use the "hack" way, and install the prores from older compressor, even if you have the newer one... ...They work faster in cs5 if you use the CS6 presets. Why? I do not know for certain, but I believe it has to do with the 32bit crosstalk. Cs6 starts with 64 and has to "dumb down" to 32 for a connection to quicktime directly, and then, if it finds 64bit architecture, smart-*** up to 64 again. In Cs5 you're stuck in 32 most of the way on the back end. Only a guess.
And when importing into premiere... ...HMM... >>>I had the same problems you had... It wanted to only import audio. If you have the time... Try:
Copy the presets from adobe that are for AME into the proper sequence preset folder of your Premiere app (the previews folder). You should also try and find a way to set up your main sequence edit. Try to remember that an AE import must be:
Fully Rendered into a file, and not linked from AE but from the file itself OR
The composition must be set to the same uncompressed codec (which means you need the preset in the AE app folder as well, finding this will be difficult, best of luck).
Remember to match your preset to your codec. IF you have separate prores bundles, use cs6 versions of the preset, and if you have the latest bundle, use the cC\cs7\2014 versions. This will let AE provide an uncompressed composition, but very slow in previewing, and if you render out, remember to render to a whole file (you can try to render-farm, but you still have to re-render in AME or Compressor afterward, as farm will only render out the frames and an audio file, not the proper file wrapper, even if you specify that wrapper; You have to build the file wrapper from the images and audio after you've rendered any effects).

Solution to Gamma/Color Shift Problems with Apple Codecs - Adobe BUG

Hi....
In AfterEffects when choosing an output module and that module be ProRes or 10 Bit Uncompressed,
when trying to color manage the file, there is a fine line called
'This Codec Does Not Support Output Profile'
You can find it int he Color Management Pane of the output module....
Funny thing is - That Profile Embedding IS support by:#
Apple's Compressor and THE CODEC 4444 AND UnCompressed
Episodes Encoder
See following Screen Shots:
First one from Apple's Compressor...
Look at that little beautiful Color Option... Adobe did you MISS that one, perhaps...
You must have - because your APPS are NOT including that when encoding or should I say
butchering movie files....
Here adobes famous but wrong dialog!!!!
And in this next screen shot you can easily see that adobe just strips the color profile out of the file...
AND THAT IS WHY THERE IS A COLOR SHIFT...........
left image = Apple's Compressor Encoding (Colors match of course) - Right Adobe's BRUTAL encoding (Colors WONT match...)
Now, in after effects you wont notice the shift. But ALL mac and PC users using quicktime to watch YOUR movies
are going to be looking at a movie with a different look than you thought it WOULD be... Courtesy of adobe ;-)
Jokes aside, Adobe.... It seems as if this one is on you to fix... Apple's Compressor has NO problems. And other encoders are also preserving those values.
Now... Let us assume that I encode in compressor... Looks are matching 100% that of the original source. All it takes to mess that up is ONE
roundtrip to after effects, premiere pro or Media Encoder. That is if I wanna maintain my initial choice of transcodec - in my case 4444 or 10bit Uncomp.
I could of course export to animation and then use compressor AGAIN to transcode to my format of choice... But in the long run I think that will become tedious.
Perhaps you could assign a few engineers on this one and in the future spend MORE time on living up to the name PRO(The most misused word in the software business) instead of wasting time generating new Application icons for your apps....
Thanks for reading and for a PROMPT and near-future BUG FIX

Mylenium wrote:
It's not really "embedding" anything, it merely sets the QT color space flags which have been there forever, but are mostly unused. Specific to ProRes it also toggles different internal optimizations in the encoding. That's also documented somewhere on the QT developer pages. I'm not sure I share your views otherwise. The point really is, that Apple developed ProRes just as much as a closed workflow within their products as Avid did with their CoDecs. Therefore the widespread use of the CoDecs is merely a byproduct of the use of the products, but not per se an intended workflow outside of those and, which is the more important part, also not explicable as a causal circumstance of the quality. If I may be so bold: What you are saying sounds like everyone would be using the Animation CoDec because it is so good, when the simple fact is that there are no decent free cross-platform alternatives and people are willing to accept limitations because of that. Don't get me wrong, ProRes is well designed and pretty robust, but the world doesn't come to an end without it and outside the Mac world it is difficult to deal with. Hell, it's even difficult to deal with between different versions of FCP occasionally...
Mylenium
I have been testing codecs for a long long looooooong time. My criterion(s) are:
1) Image Quality and that through multiple encoding generations and color grading
THEEEN
a looooong way down the road
2) Performance
BTW - I find that working with files less compressed and thus HUGE is much better. Hard drives are so cheap that one can build himself an 8 Disk RAID0 and that takes care of everything. In PPRO I can cut real time in FulRes with an uncompressed codec with the processors maxing at 3% while the H264 editing sequence will stutter like a drunken wasp and maxing the CPUs at 63%.... Go figure...
ProRes 4444's impeccable imageQuality:performance ratio, is unbeaten.
Especially on H264 material like that of the Canon5D. You might say if the source is 4:2:0 why bother upping it to 4444... Well in theory perhaps
it is overkill. But rather than reading in theoretical white papers I conduct my own tests. And the end results are (REALITY) and way different from what theory states. TO anyone reading this. DONT believe ANYTHING you read about codec nor what I am saying.... DO YOUR OWN TESTING and judge for yourself. Problem is that you have to do 100's and 100's of transcodings with ONE source to various destinations with lost of grading and transcoding generation. THEN you have to keep track of your tests and THEN compare them. It takes WEEKs. But it is well worth while it. In my case... I start with a Canon5DMKII H264 movies. Transcode it to PRORES4444 then I do LOTS of compositing and re-encoding then lots of color grading etc etc etc. Then I export back to H264 - and the end result is STUNNING has NO artifacts and is adorable to look at. Not so with at least 6 other codecs claiming to be top-notch....
Sure Mylenium, the world would NOT end with PR4444 not in it... BUT the WORLD has ALREADY decided that it WANTED ProRes4444 in it. It is growing and that every day..........
Had the codec not been so darn excellent - it would NOT have been used. Period.

Best quality footage in (uncompressed?) prior to dvdland

what is the cleanest input path from 1" analog tapes to dvd thru fcp? several dv tapes have been already been generated from these reels using dv ntsc codec. is there any clarity to be gained by importing the clips in an uncompressed codec?
thanks, alan

NTSC DV compresses 5:1.
Uncompressed is well, uncompressed.
Question is how you acquired the footage, and how you plan to ingest it into FCP and with what.

Quicktime not playing black magic codec files, or avi

Hello!
I'm on a new macbook pro (17"). my friend on an older mac laptop can play back a quicktime file in the player that has the blackmagic codec, but I cannot.
I can open the file and play it in final cut pro, I can see it in shake, but I can't play it back in the quicktime player. it shows up all white, but does list the codec as being the black magic 10 bit uncompressed codec.
I've downloaded the codec from black magic, and dropped it in /library/quicktime, but I'm not getting any result.
I've also tried "touching" the quicktime folder like they recommend, but nothing's working.
quicktime's also not playing back avi files, but I know that can be a bigger issue.
Any ideas?
thanks!
-Josh

The Blackmagic Software Codec.component I just downloaded today show it to be PowerPC. Your Intel Mac needs a Universal version or else you need to run using Rosetta.
Your .avi issue is probably the same reasons.

Gamma Shift After Rendering 8 Bit Uncompressed

I'm getting a really bad black level shift after I render in Final Cut 5. I'm using the final cut 8 bit uncompressed codec, which is what the footage was captured at. Before I render, the preview quality looks fine, but once I render it out, it looks awful, the blacks get a lot brighter, to the point where there's no detail at all. I've changed all my video output settings in the render settings to all the settings possible, and nothing works. I use an AJA iola for video output/capture, but I know it's not that becuase I hooked my sysem up through a normal firewire setup and it does the same thing. It seems to do it everytime I render, and it doesn't matter what kind of fiter or change I'm making to the video. Any help would be greatly appreciated. Thanks.
2gig dual core G5, OS X 10.4.5, Final Cut Pro 5, AJA iola

ProRes is not a long GOP structure (it is not HDV). It is an all "i" frame with compression while maintaining a 4:2:2 color space. Its getting very good reviews including it's ability to work in Color and other grading/finishing options.
Just for your own piece of mind, why not get a segment in both formats and do some testing. That's the only way you'll know for sure the best workflow for your interests.
Good luck,
x

Can't see video in an Avid Meridien Clip with codecs installed.

Hey all, any help would be greatly appreciated. Here's my issue. i have two computers described below, both have many avid codecs on them i'll list those below too. Neithe of them can show a clip that was exported out of an Avid even with the codecs installed. The Clip's details say that it's codec is the Avid Meridien Compressed, Integer (Big Endian), it's dimensions are 720X486 and it says a channel count of 2
When i try to show this clip in FCP or in QT, all I see is a white screen.
Any ideas??? i need to get this into FCP so i can export it to make DVD's really soon.
Thank you again for your help. And my system specs are as follows
System 1
Mac Pro 2.6Ghz, 3 gigs ram, 250gb HD
Mac OSX 10.4.9
FCP 5.1.4
System 2
Mac Book Pro 2.33 Ghz, 2 gigs ram,
Mac OSX 10.4.9
FCP Express HD 3.5.1
Codecs installed on both systems
avidav1xCodec.component
avidavd1Codec.component
avidavdjCodec.component
avidavdnCodec.component
avidavdvCodec.component
avidavpkCodec.component
avidavuiCodec.component
Thanks again for the help.
Mac Pro Mac OS X (10.4.7) 2.6 Ghz, 1 Gig of Ram, 250gb Hard drive

last I heard, the Avid Meridien codecs were not yet fully supported on the Intel Mac platform ... but workarounds have been reported in the past
the latest codecs Version LE 1.40, are dated March 23, 2007 and may be worth downloading if you have not already done so
that installer puts the following quicktime components into Library/Quicktime:
- AvidAV1xCodec.component: Avid 1:1x codec (Uncompressed MXF 8-bit)
- AvidAVd1Codec. component: Avid DV 100 codec (MXF)
- AvidAVdnCodec. component: Avid DNxHD codec (MXF)
- AvidAVdvCodec. component: Avid DV codec(DV 25 and DV 50, OMF and MXF)
- AvidAVpkCodec. component: Avid Packed codec (Uncompressed MXF 10-bit)
- AvidAVDJCodec.component: Avid Meridien Compressed codec (OMF 8-bit)
- AvidAVUICodec. component: Avid Meridien Uncompressed codec (OMF 8-bit)
in the past it has been reported that you then need to remove the following two components:
AvidAVdvCodec.component
AvidAVpkCodec.component
i've also seen reports that say you just have to pull the the AvidAVUICodec so go figure
if the latest codec pack does not work as is, then try removing those two or just the one ... or a different combination altogeher. probably worth a shot

Best codec for theatrical video?

I shot a stage performance on a Sony DVCam (not HD) and want to preserve the highest quality. Can I do better than just creating it as a large movie? I will be burning it in iDVD at the highest setting there, even if I have to split it into 2 disks.

Apple Video was the first codec from Apple, about 15 years ago. It's a 15 bit color codec that uses high data rates to get ok quality. Any of the DV ones are 720x480 for NTSC, so you'd lose your resolution. Apple Intermediate Codec is frequently used for HD editing, and will exceed the quality of your M2T file (though obviously it won't improve it). It may be a little demanding for some machines to play.
You might look at Motion Jpeg (A or B). Those are in the 2-4 MB/sec range, similar to DV (about 13 GB/hour), and at the highest quality should be as good as the MPEG-2 stream.
There are a few uncompressed options. The one you looked for is actually called None, but there's also Animation when set to millions of colors and highest quality, and there are video based uncompressed codec, such as Blackmagic (you would have to track down the components for that). Even Apple Component is a good codec, it makes the files half the size of the really uncompressed video codecs, but still looking good.
For what you want, I would try the Apple Intermediate one or the Motion JPEG ones. If you want to have as good quality but save some disk space, try H264 set to around 10 megabits/sec. That will far exceed the quality of the MPEG-2 stream, but wil take half the disk space. It will take a long time to compress.

Which codec do you use?

So I figured I asked the community and get a feel of which codec(for Quicktime) you use when rendering from Shake and why?
I'm trying to find a nice balance between quality and size for importing Quicktime movie into iMovie. It seems I can't get the right quality in iMovie but maybe it's because iMovie is messing with my original movie.
Thx.

Sorry I wasn't as specific. I am using sequence TIFF images which are 720x480 or less depending as input and want to ultimately build something with iDVD. I have been using the 8-bit uncompressed codec to keep as much quality as possible but I was just curious what other people use when doing their work with Shake.
As for using iMovie, I could do everything in Shake including the audio sequences but it's so much easier to line up audio clips in iMovie. I may resort to this as iMovie keeps murdering my resolution. I just didn't feel like dropping $170 on FCE or even more on FCS which is why I was using iMovie to build my movie. Based on a lot of investigation earlier this year, I could do all the work I wanted in Shake without needing FCE and just output to iMovie 09. I'm just a hobbyist.
Thx.

HDCAM SR uncompressed codec

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