No alpha channel wanted

Is it possible that no one else has had this problem? I received no answers to my previous post: Is there any way to change the pixel depth when rendering a TGA sequence? The source material - an HD MOV file - has no alpha but when I render in Compressor, it says: 32-bit pixel depth. Can this be changed to 24-bit? Very frustrating.
best,
d.

It has to be the way I am exporting because when I reimport the clip into FCP again and place something under the alpha channel, it does not appear. How can I export a keyed clip and bring it into Motion to manipulate the alpha channel?

Similar Messages

I want to export with alpha channel using a codec that carries less data than gopro cineform

Hi--I want to export some intermediate files with an alpha channel. i'm using gopro cineform, and these files end up being so large, meaning that i have to sit through hour long renders. is there a a codec i can use that has an alpha chanel but creates a smaller file size?
thanks

Thanks for your help Patrick. I tell ya, I can't believe what's going on. As I said, this project until today has not caused me any issues what-so-ever. The other six sessions are totally fine. I also created a quick project with the same settings added text - then exported using the same settings I've used before, and it exports with the proper alpha channel.
Yet, I rebooted the Mac, made sure to delete old versions in the trash can and everything. Still, no alpha.
To keep moving forward, I literally had to use a color key in FCP to cut out the background color.
Crazy!

More CS 5 - ProRes 4444 Alpha channel nonsense

Hi:
Quicktimes I render out of After Effects CS 5 using the ProRes 4444 codec are tagged as having an alpha channel even though my settings in the Output Module are RGB and Trillions of Colors. NOT RGB + Alpha and Trillions of Colors+. It doesn't matter whether my project is 8 bit or 16 bit.
When I bring such movies back into AE it shows them as having an alpha channel (Trillions of Colors+). If I do a Get Info in QT player it shows Millions of Colors+, and FCP shows them as having an alpha, too.
I just upgraded to Snow Leopard 10.6.8 (figured it was safe after two years) and in the process switched full time to CS 5 (I only used it in the past to open other's projects). I never had these issues with CS4. I have not installed any AJA codecs into this new OS (clean install over wiped HD).
This appears to be the opposite of the problem most have been having, which is AE won't generate an alpha in ProRes 4444 without moving codecs and other nonsense.
The reason this is a problem is because when I bring these Quicktimes with faux alphas into FCP for editing I can't export a reference movie. FCP rewrites the whole timeline.
Haven't these CS 5/ProRes 4444 codec/Alpha channel issues been going on for over a year? Do I have to buy CS 5.5 to get this to work correctly?
Thanks.
Shawn Marshall
Marshall Arts Motion Graphics

PR422HQ is way overkill for 99% of the video and film producers in the world. It's there for a specific elite of the entertainment biz, those who work in 4k on 64bit systems, I guess, that' ain't me! It's one of those "if you have to ask, you can't use it" sort of things. Anyone who uses the advanced features of the ProRes family knows why. That's the theory. In my practical experience over on the FCP forum at Apple, 99% of those using ProResHQ believe they are improving their original footage.
Apple ProRes 4444
The Apple ProRes 4444 codec offers the utmost possible quality for 4:4:4 sources and for workflows involving alpha channels. It includes the following features:
Full-resolution, mastering-quality 4:4:4:4 RGBA color (an online-quality codec for editing and finishing 4:4:4 material, such as that originating from Sony HDCAM SR or digital cinema cameras such as RED ONE, Thomson Viper FilmStream, and Panavision Genesis cameras). The R, G, and B channels are lightly compressed, with an emphasis on being perceptually indistinguishable from the original material.
Lossless alpha channel with real-time playback
High-quality solution for storing and exchanging motion graphics and composites
For 4:4:4 sources, a data rate that is roughly 50 percent higher than the data rate of Apple ProRes 422 (HQ)
Direct encoding of, and decoding to, RGB pixel formats
Support for any resolution, including SD, HD, 2K, 4K, and other resolutions
A Gamma Correction setting in the codec’s advanced compression settings pane, which allows you to disable the 1.8 to 2.2 gamma adjustment that can occur if RGB material at 2.2 gamma is misinterpreted as 1.8. This setting is also available with the Apple ProRes 422 codec.
Apple ProRes 422 (HQ)
The Apple ProRes 422 (HQ) codec offers the utmost possible quality for 4:2:2 or 4:2:0 sources (without an alpha channel) and provides the following:
Target data rate of approximately 220 Mbps (1920 x 1080 at 60i)
Higher quality than Apple ProRes 422
Apple ProRes 422
The Apple ProRes 422 codec provides the following:
Target data rate of approximately 145 Mbps (1920 x 1080 at 60i)
Higher quality than Apple ProRes 422 (LT)
Apple ProRes 422 (LT)
The Apple ProRes 422 (LT) codec provides the following:
Roughly 70 percent of the data rate of Apple ProRes 422 (thus, smaller file sizes than Apple ProRes 422)
Higher quality than Apple ProRes 422 (Proxy)
Apple ProRes 422 (Proxy)
The Apple ProRes 422 (Proxy) codec is intended for use in offline workflows and provides the following:
Roughly 30 percent of the data rate of Apple ProRes 422
High-quality offline editing at the original frame size, frame rate, and aspect ratio
High-quality edit proxy for Final Cut Server
The Apple ProRes family of codecs provides these advantages:
Quality indistinguishable from that of the most pristine sources: Maintains superb quality even after multiple encoding/decoding generations.
Mastering-quality 4:4:4:4 RGBA: Provides a lossless alpha channel with real-time playback (Apple ProRes 4444 only). Mastering-quality 4:4:4 Y′CBCRcolor and 4:2:2 Y′CBCR color are also available.
The quality of uncompressed HD at data and storage rates lower than those of uncompressed SD: Provides real-time editing performance comparable to or better than that of any other HD codecs in Final Cut Pro.
Apple ProRes encoding at any frame size—SD, HD, 2K, 4K, or other: Apple ProRes codecs can also be encoded into nonstandard frame sizes, but nonstandard frame sizes are not supported for real-time playback in Final Cut Pro.
Variable bit rate (VBR) encoding: “Smart” encoding analyzes the image. Efficiency is increased because excess bits are not wasted on simple frames.
10-bit sample depth: Preserves subtle gradients of 10-bit sources (sunsets, graphics, and the like) with no visible banding artifacts. When you import a file using an Apple ProRes codec, you don’t have to first determine whether the file is an 8-bit or 10-bit file. Apple ProRes codecs always preserve the bit depth of your original source files.
I-frame–only (intraframe) encoding: Ensures consistent quality in every frame, with no artifacts from complex motion, and speeds up editing.
Fast encoding and decoding: Delivers high-quality, real-time playback and faster rendering times.
Equipment affordability: Because of low bit rates, you can edit more streams with more real-time effects on slower drives, or have more users accessing the same media over shared storage devices.
Workflow options for any video format that does not have native Final Cut Pro support: The Apple ProRes format provides an effective workflow for projects involving multiple acquisition formats when you want to standardize on a single codec.
Better rendering for native editing: Can be used to render long-GOP MPEG-2 formats (such as HDV and XDCAM HD) to speed up editing and avoid MPEG-2 reencoding artifacts before output.

Better Alpha channel handling

I've asked for this a lot: alpha channel saving with PS is terrible, and could use an update. And today, I was embarrassed by a bug that caused our game engine to perform poorly as a result of the way Photoshop handles the alpha channel.
The bug: make a 1024x1024 canvas, give it an opaque alpha channel (100% white, every pixel), then Image Size it down to something smaller, like 128x128. Now look at your alpha channel: grey pixels all along the border. ARRGGGHHH!!!1!1! It interpolated, I'm sure, using black alpha outside the canvas that doesn't actually exist, changing, in a powerful, fundamental way, the nature of the alpha channel. Video cards care about this stuff: 99.9% opaque is not 100% opaque. This is terrible.
The request: That PS intelligently offer better defaults when saving an image with an alpha. Right now, it offers, "What was the last bit depth you saved an image to?" Regardless of the fact that the previous image may have no relationship to the following image being saved, the default offering is always "what I did last time". This enables very easy pruning of alpha channels that should be there, or adding opaque alpha channels that shouldn't be there, bloating the file size.
I'd like PS to determine if an alpha channel is present, and base its default choice on that. If one is present, default to 32-bits. If an alpha channel si not present, default to 24-bits. That easy.
If multiple alpha channels are present, I'd like a dropdown menu to pick which one I want. Right now, if you save a PSD with multiple alpha channels to a 32-bit TGA, it throws all alpha channels away, and saves the image with a solidly opaque alpha channel, the choice no one asked for.
For texture work, or works where the graphics card is the destination, not the printed page, this cavalier handling of alpha channels is definitely not sustainable.
I'd love to never have to ask for this again.

Generally speaking the resize of an image on a layer in which the canvas is exactly the size of the data will result in transparency peeking in around the edge (i.e., I'm agreeing with you here, just using Photoshop terms). I've always thought this was kind of poorly thought-out too. As you say, the algorithm must default to using 0 vs., say, replicating (or "clamping") to the alpha of the pixels right on the edge.
I suppose theoretically, the thinking is that if you were to EXPAND the canvas, the area around the image would be transparent anyway, and a subsequent resampling would then have the same result as the above.
Knowing this, one way to work around the problem would be to create a slightly larger image, then Canvas Size it down to your intended resolution. That way there's layer data beyond the edges with which the resizing algorithm can work. I realize that's probably not a practical solution in general, but a trick to keep up your sleeve if you really do need that 128 x 128 image with alpha solid to the edge.
-Noel

ImageIO PNG Writing Slow With Alpha Channel

I'm writing a project that generates images with alpha channels, which I want to save in PNG format. Currently I'm using javax.ImageIO to do this, using statements such as:
ImageIO.write(image, "png", file);
I'm using JDK 1.5.0_06, on Windows XP.
The problem is that writing PNG files is very slow. It can take 9 or 10 seconds to write a 640x512 pixel image, ending up at around 300kb! I have read endless documentation and forum threads today, some of which detail similar problems. This would be an example:
[http://bugs.sun.com/bugdatabase/view_bug.do?bug_id=6215304|http://bugs.sun.com/bugdatabase/view_bug.do?bug_id=6215304]
This surely must be resolvable, but after much searching I've yet to find a solution. If it makes any difference, I ONLY want to write png image, and ONLY with an alpha channel (not ever without), in case there are optimisations that that makes possible.
If anyone can tell me how to address this problem, I'd be very grateful.
Many thanks, Robert Redwood.

This isn't a solution, but rather a refinement of the issue.
Some of the sources I was reading were implying that the long save time might be due to a CPU heavy conversion process that had to take place before the BufferedImage could be saved. I decided to investigate:
I loaded back in one of the (slowly) saved PNG images using ImageIO.read(file). Sure enough, the BufferedImage returned differed from the BufferedImage I had created. The biggest difference was the color model, which was DirectColorModel on the image I was generating, and was ComponentColorModel on the image I was loading back in.
So I decided to manually convert the image to be the same as how it seemed to end up anyway. I wrote the following code:
      * Takes a BufferedImage object, and if the color model is DirectColorModel,
      * converts it to be a ComponentColorModel suitable for fast PNG writing. If
      * the color model is any other color model than DirectColorModel, a
      * reference to the original image is simply returned.
      * @param source The source image.
      * @return The converted image.
     public static BufferedImage convertColorModelPNG(BufferedImage source)
          if (!(source.getColorModel() instanceof DirectColorModel))
               return source;
          ICC_Profile newProfile = ICC_Profile.getInstance(ColorSpace.CS_sRGB);
          ICC_ColorSpace newSpace = new ICC_ColorSpace(newProfile);
          ComponentColorModel newModel = new ComponentColorModel(newSpace, true, false, ComponentColorModel.TRANSLUCENT, DataBuffer.TYPE_BYTE);
          PixelInterleavedSampleModel newSampleModel = new PixelInterleavedSampleModel(DataBuffer.TYPE_BYTE, source.getWidth(), source.getHeight(), 4, source.getWidth() * 4, new int[] { 0, 1, 2, 3 });
          DataBufferByte newDataBuffer = new DataBufferByte(source.getWidth() * source.getHeight() * 4);
          ByteInterleavedRaster newRaster = new ByteInterleavedRaster(newSampleModel, newDataBuffer, new Point(0, 0));
          BufferedImage dest = new BufferedImage(newModel, newRaster, false, new Hashtable());
          int[] srcData = ((DataBufferInt)source.getRaster().getDataBuffer()).getData();
          byte[] destData = newDataBuffer.getData();
          int j = 0;
          byte argb = 0;
          for (int i = 0; i < srcData.length; i++)
               j = i * 4;
               argb = (byte)(srcData[i] >> 24);
               destData[j] = argb;
               destData[j + 1] = 0;
               destData[j + 2] = 0;
               destData[j + 3] = 0;
          //Graphics2D g2 = dest.createGraphics();
          //g2.drawImage(source, 0, 0, null);
          //g2.dispose();
          return dest;
     }My apologies if that doesn't display correctly in the post.
Basically, I create a BufferedImage the hard way, matching all the parameters of the image I get when I load in a PNG with alpha channel.
The last bit, (for simplicity), just makes sure I copy over the alpha channel of old image to the new image, and assumes the color was black. This doesn't make any real speed difference.
Now that runs lightning quick, but interestingly, see the bit I've commented out? The alternative to setting the ARGB values was to just draw the old image onto the new image. For a 640x512 image, this command (drawImage) took a whopping 36 SECONDS to complete! This may hint that the problem is to do with conversion.
Anyhow, I got rather excited. The conversion went quickly. Here's the rub though, the image took 9 seconds to save using ImageIO.write, just the same as if I had never converted it. :(
SOOOOOOOOOOOO... Why have I told you all this?
Well, I guess I think it narrows dow the problem, but eliminates some solutions (to save people suggesting them).
Bottom line, I still need to know why saving PNGs using ImageIO is so slow. Is there any other way to fix this, short of writing my own PNG writer, and indeed would THAT fix the issue?
For the record, I have a piece of C code that does this in well under a second, so it can't JUST be a case of 'too much number-crunching'.
I really would appreciate any help you can give on this. It's very frustrating.
Thanks again. Robert Redwood.

Alpha channel weirdness with hardware MPE

To begin, I'm using a GTX 480 with the hack, so I'm not going to complain too loudly it this is a result of using as-yet unsupported hardware. However, I just want to verify with other hardware MPE users (both legit and unsupported) if this issue is happening on other systems.
I've noticed some oddities with imported PSD files and the way that their alpha channels are rendered with hardware MPE, versus software MPE. I'm putting up a couple frame grabs with GPU acceleration turned on and off at couple different point where I'm using the PSDs. Forgive the PNG compression; you should be able to see the difference, nevertheless.
First up, 100% opaque text over a background. The edges of the text are... fuzzy, maybe?
Software:
Hardware:
Second, a couple layers Fast Blurring and fading in. The logo is 100% opaque, and there is a separate "glow" layer (rasterized in PS) behind it. Pretty obvious, here...
Software:
Hardware:
Finally, a mostly-transparent logo bug. The hardware version is not as transparent.
Software:
Hardware:
The only difference between each of these examples is that I turned on or off GPU acceleration in the Project Settings; it's the same PSD for each grab. I've also noticed that standard cross dissolves are a little chunky when dissolving to or from a graphic (even a flattened version); the opacity change is not as linear as it usually is. In software mode, this goes away.
Anyone witnessed similar results? Again, I want to believe that this is just a result of using the GTX 480 and the hack, without official support. It could very well be the nVidia driver, too, I suppose, but I haven't tried rolling back to check that (I'm running the latest versions).
Thoughts?

I can confirm this.
I do not think its the psd but the Alpha Channel in general.
The colours are off when in MPE (Nvidia GTX 285)
I filed a bug report.

How do I create or export a logo in Illustrator CS5 with an alpha channel to use in Final Cut Pro 6?

To anyone who can help:
I have created a logo using Illustrator CS5 and need to import it into a video sequence in Final Cut Pro 6. The logo has a transparent background. It seems FCP 6 will import both native .ai files as well as .tiff files, but when I open them in FCP 6, the alpha channel (transparent background) is no longer there; there is just the logo over a white background. Is there a setting or step I am missing?
Shaun MacLellan

I have to insert AI images into Final Cut Pro and Motion quite frequently.
The most effective way I've found to get an AI image into Final Cut is to:
1. Select/copy all the objects in the AI doc.
2. Create a new file with a transparent background in Photoshop and paste.
3. Merge the layers and make sure the mode is RGB.
4. Save out as a .PNG or .PSD.
5. Drag the result into Final Cut (or Motion).
6. Resize and position the result to taste.
Attempting to export directly from AI to .PSD or .PNG is a wasted effort and the results may not even be recognized by Final Cut.
Yes, it requires Photoshop and it is a few extra steps...but it works like a charm.
Additionally, when creating a new file in Photoshop, you may want to initially set its size to match the aspect ratio of your video. For example, if you're making an HD video, you might set the size to 1280x720 and position the AI elements where they are supposed to be in frame. You can set the AI elements in accurately by cutting and pasting a frame from your video into Photoshop and positioning the AI elements in place on another layer above the video layer. Delete the video layer before saving out as a .PNG or .PSD and it will appear in Final Cut exactly where it should be.

How to set alpha channel names in a format plugin?

I am writing a format plugin with 6 color planes for CMYK mode. I want to set the apha channel names for planes 5 and 6 to "White" and "Clear" instead of "Alpha 1" and "Alpha 2" when I read the color data from my file. How do I set the alpha channel names?
Thanks!

I am still trying to find a solution to this. The propChannelName is read only and the documentInfo structure is NULL when reading. Any suggestions?

Keys in CS-5 - Save Alpha Channel AVI

Hello. I go shoot keys with green screen. On Location is good for some of that, but I have to remember to adjust the sound level next time. To show kids who did the scripts, I used the CS3 Ultra to quick ket a sample and dump on a background like we plan to use.
When I get into Premiere CS-5 I want to pick the take I like, trim the ends, key to transparent and save as an AVI with alpha channel. Liked the Ultra keyer when it was separate, but not sure about CS5 one, as controls were better organized in the CS3 version **.
1) Do I need to set up a line on timeline as alpha channel, in order to save same? If so which one? These are just keyed person with clear BK.
2) Please help me with the settings so someone who makes the final steps, I think in another program, can open up the AVI files and have a good key to finish off. So far I haven't found one that will let me tick alpha channel to save.
**Yes i should find the Premiere fix list and ask for an ULTRA pop up of the CS3 design, if they are going to keep in Premiere.
3 PS) Does Adobe have a set of books for the CS5 programs? When i got CS3 they offered me a deal to take the books. Saved me many times to be able to flip pages to find answers. Even a PDF of same might speed things along.

Look here for the steps to export an AVI with alpha: exporting video with an alpha channel (transparency)
I don't think you'll ever see Ultra as a standalone program again, as it's now integrated into Premiere Pro as an effect. I never used Ultra CS3, as I thought it was too rinky-dink, but the CS5 version is quite nice and easy-to-use (and get a great key) in most instances. It's not bulletproof, but Keylight in AE takes care of the more troublesome keys.
You can download a PDF of the help document for a particular application by going to the online version of the help docs, and clicking the PDF link in the upper-right corner. You can get Premiere Pro CS5's PDF right here: Adobe Premiere Pro CS5
You should also have the Community Help application installed along with the CS5 suite. If it doesn't open when you hit F1 within your app of choice, it should be available in the suite's application folder. It works well, and the help is updated frequently.

Copying an alpha channel from one comp to another?

I've created a green screen key using Primatte in one comp, and I want to use that same key in another comp, but where the background has since been replaced and rendered out with an effect I want to keep on the foreground subject. I bet it's something simple...
Actually I bet that explanantion's confusing.
Subject X is against green in a video in comp A.
X was extracted using a key and rendered with an effect and a new background to creat video B.
I want to extract subject X from B (and keep the new effect) using the alpha channel created in comp A.
So how do I copy and paste the alpha channel from comp A to a new comp with video B in it?
Cheers!

Pre-compose, use as a matte layer.
Mylenium

Are Quicktimes with alpha channel gone in Keynote 6.0?

Say it aint so. This is a very crucial feature of the app for my company.

While presenting from an iOS device is certainly useful, I want to be able to do the best presentations possible. Looks like Keynote 5.3 will be the tool of choice for some time yet.
Keynote 6, while a step forward for maybe 99% of users (that don't want to care about what works and what doesn't on various platforms), is a major leap backwards for the professional presentation business.
Time for Apple - or perhaps better yet, some third party - to make a Keynote Pro and make it desktop only, if that's what it takes. Bring back the larger choice of transitions, support for QuickTime alpha channels and dynamic Quartz Compositions, interaction with master slide objects and mixing of themes in the same presentation. And don't stop there:
Add parallell layers or tracks, so that some visuals or audio can play uninteruppted over several slides.
Add dynamic inputs, so a text and media fields can be populated by tweets or other RSS feeds.
Add a proper theme editor, so you easily can change various defaults and maybe add custom border styles and stuff.
Make the presenter's display more flexible, and allow for (simple) editing of slides while running the show.
Phil Schiller may have the time and resources to let 3D animators render full frame wow!-inducing movies-as-transitions, but isn't it better to have more power within the application itself? And with Keynote 6, some of that power is gone.
Maybe it'll be like with FCP X, where some of the lost features of the previous version got added back in an update. But as with anything Apple, who knows?

How to assign a layer as a output (Encode) alpha channel

Hi
In Adobe Premier or After Effects is there a way to assign a layer to be seen as a alpha channel on outputting (encoding) the completed project?
for examples.... I have about 6 video files all built up on top of each other (video 1, Video 2... and so on). The final layer (Video 7) I then import a PNG file with alpha to show the videos below where I want exactly. The black area (non transparent) area of my layer 7 I want to be seen as my alpha channel in my 3rd party video software after I have outputted (encoded) my video file.
Hope that makes thanks
Thanks
Craig

Hi
In Adobe Premier or After Effects is there a way to assign a layer to be seen as a alpha channel on outputting (encoding) the completed project?
for examples.... I have about 6 video files all built up on top of each other (video 1, Video 2... and so on). The final layer (Video 7) I then import a PNG file with alpha to show the videos below where I want exactly. The black area (non transparent) area of my layer 7 I want to be seen as my alpha channel in my 3rd party video software after I have outputted (encoded) my video file.
Hope that makes thanks
Thanks
Craig

Problem with Alpha Channel

The top level track on my project contains an alpha channel. However, being the top level track the tracks below it are invisible.
I have read the "Compositing, alpha channels, and adjusting clip opacity" page. It tells me that I "can choose how to interpret the alpha channel in a file in the Interpret Footage dialog box. Choose Invert Alpha Channel to swap areas of opacity with areas of transparency, or choose Ignore Alpha Channel to not use the alpha channel information at all."
However, when I do this (ie. inverse the alpha channel in the asset) I get the following before and after results:
Summary of goal: I want to adjust the transparency of the top track so that the lower tracks appear.
Help.

If you want to adjust the transparency of a clip, you modify its Opacity property.
Changing the alpha channel properties in the Interpret Footage settings is for when the alpha channel of an asset is not being interpreted/used correctly by the application.

Alpha channel in Exporters

Hello,
I'm having difficulties with alpha channel in an exporter. Symptoms - no alpha channel is given to my exporter by Premiere Pro when using source with alpha channel. I created a sample test video that has rows of (red pixel, green pixel, blue pixel, alpha pixel). So, while examining bits in the memory, I always see 0xff for alpha component (i.e, red pixel looks like 0xff 0x00 0x00 0xff, green pixel looks like 0x00 0xff 0x00 0xff, blue pixel looks like 0x00 0x00 0xff 0xff, and alpha pixel looks like 0x00 0x00 0x00 0xff), which looks to me like no alpha channel given in the frame. I request frames in BGRA_4444_8u pixel format. Correct me if I'm mistaken, but shouldn't that color format give me alpha component if source has alpha? I thought "ok, may be sequence or project settings have setting that i'm not enabling to preserve alpha", but as I found out, Premiere Pro preserves alpha unless explicitly told not to preserve by user. SDK Exporter sample project description mentions support for uncompressed 8 bit RGB with or without alpha. Does that mean that Premiere Pro should give frames with alpha channel if source had it? I looked at how sample exporter requests frames from Premiere Pro and only color format-specific info is custom 'sdk' color format, unless I overlooked something.
Thank you,
Petro

Hi Petro,
I looked into the SDK samples, and there was a few adjustments I had to make to get the alpha channel to round trip successfully, when exported out using the SDK Exporter, and reimported using the SDK File Importer.
First, I had to make sure info in the file header was set correctly. In WriteSDK_FileHeader(), I set the bit depth according to the codec setting retrieved using:
mySettings->exportParamSuite->GetParamValue(exID, 0, ADBEVideoCodec, &codecSubType);
For "SDK file format", 32 means there's alpha, and 24 means no alpha. For the two video "codecs" supported, I set it like this:
switch(codecSubType.value.intValue)
    case SDK_8_BIT_RGB:
        mySettings->SDKFileRec.depth = 32;
        break;
    case SDK_10_BIT_YUV:
        mySettings->SDKFileRec.depth = 24;
        break;
The other change I had to make was in RenderAndWriteVideoFrame(). One of the parameters for RenderVideoFrame(), SequenceRender_ParamsRec, includes a member called inCompositeOnBlack. Again, I set this according to the codec:
switch(codecSubType.value.intValue)
    case SDK_8_BIT_RGB:
        renderParms.inCompositeOnBlack = kPrFalse;
        break;
    case SDK_10_BIT_YUV:
        renderParms.inCompositeOnBlack = kPrTrue;
        break;
This inCompositeOnBlack may be the problem you're running into. You should set it to false if you want the alpha preserved.
Regards,
Zac

Bluff Titler Alpha Channel problem

Hi
I have made a video file using Bluff Titler. I have exported it with tranparency, but I cannot get the alpha channel to work inside PPRO CS 6.03...
Has anybody tried this with Bluff Titler and would be so kind to share their workflow?
Thanks
/Ulf

have you tried this ?? read the help file at your bluff titler website ?
=======pasted from help =======
4 TRANSPARENCY
BluffTitler can create AVI files with transparency information (RGBA, or AVI with alpha channel). You can do this by selecting Uncompressed AVI with transparency in the File/Export as Movie... dialog. This is very useful if you want to overlay your titles onto your videos, but unfortunately not all video tools can import AVIs with transparency, so try using AVI without transparency if your NLE starts complaining about not being able to read your AVI file.
BluffTitler allows you to export your BT show as compressed AVI with transparency info. This combination of compression and transparency is rare and not many encoders and NLEs support it.
======end paste ========

No alpha channel wanted

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