RGB vs YUV rendering

We have been making spots for the web out of DVCPRO HD and DVCPRO 50 material, compressing to h264 for final delivery. One of my editors changed the render setting for our final sequence from RGB to YUV, saying this would help color matching when delivering to the web. I didn't really understand his explanation, so I came here. For DVCPRO HD or DVCPRO 50 material, should I have my rendering set to RGB or YUV? Most of our stuff goes out as SD DVD or Quicktime files for the web.

Hmmm...the default for DVCPRO HD is 8-bit YUV...so it should always render in that setting. How did it get switched to RGB?
Shane

Similar Messages

Color space RGB or YUV?

Hello. What color space in premiere? RGB or YUV? How I can change color space? In Avid composer, when importing, i can select RGB or YUV. In premiere cc is there?
screenshot from avid

How does P Pro handle YUV (YCbCr) and RGB color spaces?

Render preferences. RGB or YUV?

I'm a little confuse here. I finished my FCP training last weak,so I'm newbie. Yesterday I was studying fcp7 and I have a question.
In Sequence Settings (Video Processing tab) there is some options to choose.
1- Always Render in RGB
2- Render in 8-bit YUV
3- ...
4-...
When I edit videos for web,multimidia I render RGB, to broadcast,dvd,etc... render YUV? it's correct?
please help.
thanks

If I could afford FCP 7, I would definitely use ProRes 4444.
Sigh.
Meanwhile back in my world, I didn't quite understand
what Luca wrote:
gogiangigo wrote:
you may want to offline your edit using Apple ProRes
(use composite modes if required) and when you are done...
online everything for the master.
If I use ProRes 422 for my offline codec, how do I access
the alpha channel? Seems impossible.
I was using a bizarre workflow, which I may use again.
Whenever I had a Shake render with alpha, I would render
out 2 DVCPRO HD files: One with the RGB data, and one
B&W with the alpha data. Then I would place them
both on the FCP timeline, with the RGB track using
the B&W track in Travel Matte Luma mode.
That technique works OK, but you've got to remember
not to premultiply, since with non-alpha clips,
you don't have the option of setting the alpha to Black.
Anyway, Luca, if you could explain your idea in a little
more detail, that would be cool.
Anyone else out there doing complex layering in FCP?
FCP 6, that is.

High precision YUV rendering

May seem a excessive....
I have a long project and I have decided to divede it in smoller videoclips for the final dvd, so I created new sequences for every new videoclip (portion of the previous bigger one). The original was rendered in high precision YUV and I forgot to modify the settings in the new sequences before pasting. I pasted, then modified the settings and then re rendered... is it ok anyway? I noticed that if you paste after changing the settings no rendering is required - I just want to be sure that the final result is the same.
Thanks

though if any changes are made to the sequence, it would kill the render, correct?
I just am seeing how exporting this with my color correction is taking 7 hours for my system to do.. I'd love to know if there is some secret way to have rendered files saved so that it doesn't take 7 hours every time, in case I have to make a change.
-p

Processor supported only rgb and yuv videoformat

Hi All,
I install JMF2.1.1 to my Debian Linux from performance pack. (There is an error on install bin at line 267: tail +309 $0>$outname need to change tail -n +309 $0>$outname ).
After setup and set CLASSPATH and LD_LIBRARY_PATH, I try to use jmf. When I get supported codec with:
            List l = PlugInManager.getPlugInList(null, null, PlugInManager.CODEC);there are 48 installed codec forexample h261,h263,jpeg and so on.
When I create a Processor there are only 29 supported videoformat: 28 RGB and 1 YUV.
I need monitoring support, and I use MonitorCDS based on JVidCap example.
How can I make "supported" h263 codec to my Processor?
here is my code:
        try {
            this.processor = Manager.createProcessor(this.monitorCDS);
            this.processor.addControllerListener(this);
            this.processor.configure();
            if (!this.waitForState(this.processor, Processor.Configured)) {
                throw new Exception("Configure of processor error");
            this.processor.setContentDescriptor(new FileTypeDescriptor(FileTypeDescriptor.QUICKTIME));
            TrackControl tcs[] = this.processor.getTrackControls();
            VideoFormat target = new H263Format();
            Format f;
            for (TrackControl tc : tcs) {
                for (Format sf : tc.getSupportedFormats()) {
                    if (target.matches(sf)
                            && (f = target.intersects(sf)) != null
                            && tc.setFormat(f) != null) {
                        tc.setFormat(sf);
            this.processor.realize();
            if (!waitForState(this.processor, Processor.Realized)) {
                throw new Exception("Realize of processor error");
            }My datasource is coming from v4l4j its supports an RGBformat:
        new RGBFormat(new Dimension(640,320), 640*320*3,
                            Format.byteArray, DEF_FRAME_RATE,
                            24, 1, 2, 3, 3, 640*3, VideoFormat.FALSE,
                            Format.NOT_SPECIFIED);thx
Zamek

hello,
I have no source of jmf, but I have fmj source and I try to compare v4l4j datasource to jmfsample.media.protocol.live.DataSource and LiveStream.
Both of them create videoformat i LiveStream:
        rgbFormat = new RGBFormat(size, maxDataLength,
                Format.byteArray,
                frameRate,
                24,
                1, 2, 3,
                3, size.width*3,
                VideoFormat.FALSE,
                Format.NOT_SPECIFIED);Both of them set to LENGTH_UNKNOWN at getContentLength();
And there is no more UNKNOWN or UNSPECIFIED value in this code.
Here is the source, if you interesting:
http://groups.google.com/group/v4l4j/attach/7d04d6c95030e354/src.zip?part=2
thx
Zamek
Edited by: zamek on Jan 7, 2010 8:12 AM

RGB value -- RGB -- YCrCb -- RGB -- RGB value conversion help?

Hi,
I am using bufferedImages and the method getRGB() and setRGB().
I was wondering how I can convert a negative RGB value like -6262262 to RGB values like 155, 80, 90. Then convert those to Y' Cb Cr values like 0.23, 0.212, 013. And then I have to convert them back to RGB values (e.g. 155, 80, 90) and then to the negative RGB value (e.g. -6262262). I need methods like the following:
// Return RGB red value:
public static int RGB_redValue (int rgb)
    // code
// Return RGB green value:
public static int RGB_greenValue (int rgb)
    // code
// Return RGB blue value:
public static int RGB_blueValue (int rgb)
    // code
// Return Y'CbCr, Y value:
public static double YCbCR_YValue (int red, int green, int blue)
    // code
// Return Y'CbCr, Cb value:
public static double YCbCR_CbValue (int red, int green, int blue)
    // code
// Return Y'CbCr, Cr value:
public static double YCbCR_CrValue (int red, int green, int blue)
    // code
// Return RGB red value:
public static int RGB_redValueFromYCbCr (double Y, double Cb, double Cr)
    // code
// Return RGB green value:
public static int RGB_greenValueFromYCbCr (double Y, double Cb, double Cr)
    // code
// Return RGB blue value:
public static int RGB_blueValueFromYCbCr (double Y, double Cb, double Cr)
    // code
// Return RGB value:
public static int RGB_value (int red, int green, int blue)
    // code
}All I need is the YCrCb value from a bufferedImages and then I need to set the specific pixels to the Y values. I couldn't find any methods that I can use to do so. If anybody has methods like above, please post. If not, then can you write the formulas or link them. Thanks.

    // Return RGB values:
    public static int RGB_red (int rgb)
        int myR = (rgb >> 16) & 0xff;
        return myR;
    public static int RGB_green (int rgb)
        int myG = (rgb >> 8) & 0xff;
        return myG;
    public static int RGB_blue (int rgb)
        int myB = rgb & 0xff;
        return myB;
    }And YCrCb to RGB and RGB to YCrCb is quite easy:
RGB to YUV Conversion
Y = (0.257 * R) + (0.504 * G) + (0.098 * B) + 16
Cr = V = (0.439 * R) - (0.368 * G) - (0.071 * B) + 128
Cb = U = -(0.148 * R) - (0.291 * G) + (0.439 * B) + 128
YUV to RGB Conversion
B = 1.164(Y - 16) + 2.018(U - 128)
G = 1.164(Y - 16) - 0.813(V - 128) - 0.391(U - 128)
R = 1.164(Y - 16) + 1.596(V - 128)

Unexpected Alpha channel behavior in Premiere

Is there no way to interpret alphas as straight versus premultiplied in Premiere? Why do my transparent layers and clips with alpha channels display differently with a Black Video layer below them?
Background info:
I'm exporting my film to files with codecs that support alpha channels, not because I want an alpha in the result but because I need full RGB / 444 color coding for digital cinema theaters. I'm using ProRes444, Targa and PNG Image sequences to preserve as much quality as possible in my master exports.
I've discovered that there is no option to disable the alpha transparency in the Export Media step while preserving at least 10 bits per color channel (Trillions of colors in AE).
To solve this problem, I've had to add a "Black Video" clip to the first video track, underneath the film's content. When this is done, the pre-rendered text elements with alphas look different. They are movie trailer style text treatments that are light text over pure black. (I'm on my ipad right now and don't see a way to upload screen shots to show examples)
The result with the black video layer applied at the bottom is similar to the way QuickTime 7 displays straight alphas incorrectly. This problem occurs with both straight and premultiplied renders. The rendered text is from after effects and is stored using the animation codec.
I'm aware of how to work around this, by maintaining the alpha transparency in Premiere and then removing the alpha channel of my export by running it through After Effects, but that is a ridiculous, time consuming step.
I'm working with the GPU Mercury Engine on with a K5000 from NVIDIA. Can anyone explain this behavior? Is there no way to interpret alphas as straight versus premultiplied in Premiere? Why do my transparent layers display differently with a Black Video layer below them?
Here are the screen shots
UNDESIRED EFFECT using Black Video layer at bottom: Notice the fuzzy glow surrounding the text. This is happening with both straight and premultiplied renders.
INTENDED LOOK when composited over nothing: The glowing edges are displayed the same way in Premiere as in After Effects.

In my understanding, the reason 444 is indicated is because they are not RGB codecs. They simply sample the same amount of color as is possible in true RGB codecs. They still require a conversion from RGB to YUV for coding to a file, which almost always introduces a very slight shift in values, though usually imperceptible or acceptable. If the codec is truly RGB there is no need to indicate luminance vs color sampling.
...I think.
Again thank you for your awesome input! You've been a huge help here on my day off. :)

Final Cut Pro 6.0.3 Problem with Photo JPG Codec ?

Hi everyone...
I have been working with music videos for several years using FCP 5.x and photo-jpeg codec, everything works fine. As time going by now I have updated my FCP using 6.0.3 with hopes to get better features. But unfortunately FCP 6 has problem with photo-jpeg codec. The problem is when I load a photo-jpeg video, the gamma will changes every time the playback head is start or stop. And I can't using video transition (standard cross-dissolve) anymore because the video gamma also change at the in transition and out transition. It also appear in my video monitor and output file ! I have searching all day to find out what is exactly the problem, but never get the solution. Should i come back to FCP 5.x ? Is it a BUGS or what ? What happen with Apple, why they let this happened ?
For information the video is in SD PAL & captured using Blackmagic Decklink card.
Please help,...Thanks.

Welcome to the discussions...
I believe this has to do with using YUV or RGB as the rendering method. RT is always RGB, but try changing the setting for your timeline to whatever it is not now...
post back,
Patrick

Where are the AE render settings in Media Encoder?

I'd like to use Adobe Media Encoder for background rendering, but how do you set the render settings (like bit depth, motion blur, solo switches, guide layers, ect)?
Also, how do you select the output color profile from AME?

Hi Clint,
Sorry for the long delay on replying, I've been busy. Doesn't look like you've cross-posted this to the AME forum, so I'll take a crack at the answers:
1) AE renders compositions at a bit depth of 8, 16, and 32 (float). AME can encode frames at 24, 32, 48, and 64 (for ProRes 4444, for example). How do these things relate to each other, and how/why should you use a particular AME bit depth setting for an AE comp?
These numbers all represent bit depth. AE states bit depth in terms of bits per channel (bpc). AME usually states bit depth in total bits per pixel (bpp = bpc multiplied by the number of channels). It's one of those little inconsistencies that comes from the two apps growing up under different development teams.
RGB has three channels. RGB + Alpha has four channels. Doing the math:
RGB 8 bpc = 24 bpp
RGBA 8 bpc = 32 bpp
RGB 16 bpc = 48 bpp
RGBA 16 bpc = 64 bpp
So if you want 8-bit output with an alpha channel, you'd set the bit depth in AME to 32. If you don't need an alpha channel, set it to 24. Note that AME doesn't have equivalent options for 32 bpc formats. (If it did, the bpp equivalents would be 96 and 128 bpp!) There are very few such codecs anyway.
2) What effects does "Use Maximum Render Quality" have on a comp? Does it only come into play if your are encoding to a different resolution to the source comp? Will it change the color processing?
IIRC, the "Use Maximum Render Quality" switch doesn't affect AE comps. It only has an effect when the source is a Premiere Pro sequence. This article has some detail about how the switch affects Premiere Pro sequences:
http://blogs.adobe.com/premiereprotraining/2010/10/scaling-in-premiere-pro-cs5.html
3) Does AME always render at "Full" resolution or does it look at the resolution setting in the AE comp window? What if it's set to "auto"?
4) Does AME pay attention to the comp window Region of Interest?
5) Does AME care about the composition motion blur button or does it just look at the layer motion blur settings?
7) How does AME handle color management? Does it always output in the working space?
These questions all have the same basic answer. When the AE comp is loaded via Dynamic Link, it will be processed using the state of the comp at the time the AE project was saved. Any switches available in the Timeline panel like Motion Blur will be used in their current state, and there is no control over them from the AME side.
Keep in mind that comp viewer switches like Region Of Interest and preview resolution aren't a function of the comp itself, and thus aren't seen by AME. They are a function of the Comp viewer panel. (The difference being the same as between a piece of artwork and the glass of the frame. If the glass is warped then the art looks warped. AME only looks at the artwork without the glass.) Color Management, similarly, while controlled at the project level is interpreted via the Comp viewer panel or by AE's Render Queue; AE's color management is not in the chain of processing used by AME. But you can acheive the same color management transforms via AME by using the Color Profile Converter effect and setting the input and output profiles specifically.
So, what AME sees in an AE comp will be identical to what you see in the Comp panel in AE at full resolution when ROI and any other viewer switches (like the Transparency Grid or guides or color channel selection) are turned off, and without a project working color space being set. From this point the pixels could be affected by AME via scaling or if there is a color space transform inherent to the chosen output format (ex., RGB to YUV).
6) How does AME decide whether to interlace the render?
This is defined by the Field Order setting in the AME Output Settings. That seems pretty straightforward to me, so if I'm missing something about your question please clarify.
-=TimK

Transitions flicker and flash when exported

Most of my clips have movement to them. The dissolve transitions have the green bar above them. After rendering these simple dissolve transitions in Final Cut, everything looks great. Playing within the program works perfectly. After "Export Movie" these same transitions flicker and flash and some of the clips end up with dark lines through them. I have tried flicker filter with inconsistent success. I have tried changing the length of the dissolve transition with inconsistent success. Any thoughts?
Thanks for any help that can be given.

I think I solved one issue. My still images were way to high resolution. I didn't think that could even be a problem. Also, two were tiff images. Converting them to jpg solved their problems. I turned off the field dominance which cleared up one of the dissolves that had a filter applied. I am still getting some jerky dissolves but at least they do not flash.
As for the codec, It looks like it is the HDV 1080i60. Where and/or how do I change the default Quicktime render from RGB to YUV or vice a versa.

Reading ProRes4444 Quicktime between AE CS5.5 & Nuke 7.0v8 produces different color results

Please read this first. THIS IS NOT A GAMMA ISSUE! I am well aware of the difference between RGB v YUV & 0-255 v 16-235. It is not a RGB v YUV problem or a 0-255 v 16-235.
I am experiencing a noticeable color shift within highly saturated files. I am specifically noticing a difference in REDs. At least witin my current project.
Files are Alexa C-Log. Edited within FCP. Graded by BaseLight within FCP. Comped within NUKE. Titles added within AE. Sent back to FCP timeline.
Here is what I cannot explain. I can roundtrip the file within Nuke. I can Read a ProRes4444 file which I can then render out as multiple formats, i.e. QT ProRes4444, EXR, TIFF, DPX. I can bring those files back in and create a difference matte which produces pure black (well close enough, small differences in gamma when elevated astronomically). So apples to apples, color space matches, gamma matches.
Now when I bring these rendered files into AE the image sequences display a different color than the ProRes4444 QTs. ALL the image sequences match and ALL the ProRes4444 match. I have tried creating a project with an unmanaged color space as well as a traditional rec709 project color space. I have also tried intrepreting the PR4444 files different color profiles. NO amount of variation will allow the PR4444 files to match the image sequences. I am partial to image sequences, BUT, ProRes files have become standard file types and I would like to resolve this issue.
Any thoughts?
I have tried this:
http://blogs.adobe.com/aftereffects/2009/12/prores-4444-colors-and-gamma-s.html
and this:
http://blogs.adobe.com/aftereffects/2010/05/prores-4444-and-prores-422-in.html
Please observe . . . .
TIA
-M

I have more results after further testing.
Running OS X 10.8.4
AE 10.5.0.253
K5000 GPU
My AE project is setup as a 16bpc, HDTV (rec709), Blend Colors Using 1.0 Gamma, Match Legacy After Effects QuickTime Gamma Adjustments, Compensate for Scene-referred Profiles.
I import a FCP 7 generated QT ProRes4444 file. The file is rendered as YUV Full Precision with Super-Whites. In an attempt to round trip the file, I rendered the singular file with no effects back out as a ProRes4444 file with rec709, sRGB or Preserve RGB color profiles. Once imported back into AE, each of these 3 files matches the original identically. Quite well actually, even when I turn on difference mode and crank the gamma, they hold up really well. Nothing perceptually different here.
NOW, when I render out as DPX, EXR or TIFF, I get a completely different result. EACH image sequence imports identically, so DPX matches EXR matches TIFF. BUT they are all identically different than the original. Once again there is a color shift. NOT a gamma shift, a HUE shift.
I am rendering each file as a rec709 and importing as a rec709.
What gives?
Here is the kicker, when I switch to my windows box (WIN7 SP1), then open my AEP file. The colors match identically across all files & formats!!! I literally set my OS X AE comp to solo 2 layers on difference mode. There is a clear difference. When I open the same file within WIN7, pure BLACK. NO DIFFERENCE. Holy crap this is alarming. Side note, still have the hue shift within NUKE across platforms but it is consistent.
WIN7 64bit SP1
AE 10.5.0.253
GTX680 GPU
I am not going to blame Adobe, since I am almost certain this is an APPLE issue. I would like to ask the Adobe AE Team, what value is AE reading that Nuke is not? Is there different QT importers?
Thanks,
Matt

Would a Large LED TV work well as a computer monitor? (PP/AE Editing)

I'm int the need for getting a larger and better monitor. Right now I'm using an HP 25" 1080p computer monitor with a contrast ration of 60,000:1
I was thinking about buying a large TV to use as a monitor via HDMI for PP/AE editing videos. Is this practical? Issues? Color rendition?
Sharp Aquos Quattron LED TV:
40-inch 3D HDTV display with full HD 1080p
X-Gen LCD panel with UltraBrilliant LED
AQUOS Quattron 3DTV technology produces a bright 3D experience
Quad Pixel processing enables enhanced range of colors and detail
Built in Wireless with Netflix, Vudu, Cinema Now and more
240Hz Aquomotion
4 HDMI Ports
One-year warranty
Dimensions: 37″x23″x1.6″; 29.8 pounds
Thoughts appreciated.

Yes I have tested the YUV and RGB output out of the HDMI on the video card and yes the YUV output is not converted. Now the codecs and color space used along with how the Application draws out will have an effect on that.. However once again I have tested this with many clients and the YUV preview is exactly the same as their DVD preview from their deck. I am sure there are many editors here that will confirm that.
Yes I can confirm that. Look up Colorimeters and what they do. I suggest you start here:
http://www.xrite.com/product_overview.aspx?ID=1454
Do you honestly think that publication and still editors could edit on Computer LCD's if they could not accurately calibrate them? I dont talk to many that use an I/O device for that.
The YUV capability of the LCD has to due to what panel they use and what they program the firmware to do. Samsung often has 2 lines for many of their Monitors. One uses a standard RGB panel used by standard computer monitors and another uses a panel that is used in LCD TV's which will handle both. That is an example of when the YUV support is added to the firmware. Keep in mind hardware devices/ie gear like TV's and Decks have the ability to convert RGB to YUV if that is what they do or vice versa. So I can send a YUV signal to a RGB device but if that RGB device does not have output color tables for YUV then it will process that signal to RGB.
Geforce Cards Support 10 bit. However they only support 10 bit via Direct X and not OpenGL. If an application is written with a Direct X API then you can absolutely have 10 bit color output. Adobe uses Open GL for their API so geforce cards dont output 10 bit. I was just correcting an incorrect statement that Geforce cards cannot output 10bit. BTW Geforce cards can actually output 12bit because the Deep Color standard includes up to 16 bit. This limitation is sctrictly due to the application and not the cards.
The Source on that was a confirmation post by an Nvidia Rep right here in the Adobe Forums. You might also want to read up on Deep Color here:
http://www.geforce.com/hardware/desktop-gpus/geforce-gtx-670/specifications
"5 - Support for HDMI including GPU accelerated Blu-ray 3D support (Blu-ray 3D playback requires the purchase of a compatible software player from CyberLink, ArcSoft, Corel, or Sonic), x.v.Color, HDMI Deep Color, and 7.1 digital surround sound will be added in a Release 260 driver. Upgrade your GPU to full 3D capability with NVIDIA 3DTV Play software, enabling 3D gaming, picture viewing and 3D web video streaming. See www.nvidia.com/3dtv for more details."
http://www.hdmi.org/learningcenter/faq.aspx
"Deep Color: HDMI 1.3 supports 10-bit, 12-bit and 16-bit (RGB or YCbCr) color depths, up from the 8-bit depths in previous versions of the HDMI specification, for stunning rendering of over one billion colors in unprecedented detail"
Hope that helps.
Eric
ADK

Motion clip darkening video in Final Cut Pro

Hi all
I'm having trouble adding some motion graphics over the top of some video using Motion and Final Cut. When I drag the Motion clips, which contain little more than some animated text on a transparent canvas, into Final Cut, the video is darkened for the duration of the Motion clip. The appearance is like adding a black layer over the video at about 10% transparency, but obviously no such layer exists in the graphics. Any ideas?
FYI, the settings for these clips/videos are the same as ones I did recently, and no such darkening occurred. I'm stumped...

Are you rendering into RGB or YUV?

Dropped Frames w/ Ae Dynamic Link Comps Using BMD (on Playback)

Hey guys,
This problem started exibiting itself a couple weeks ago. Hoping for some feedback regarding possible problems other than just bad performance with my BMD Hardware.
The following is the system it's occuring on:
2009 2.93Ghz/16GB 8-Core MacPro
Adobe CS5 - Latest Updates
Internal Raid 0 - Footage Files
Internal 7200RPM - Project Files
Internal 7200RPM - OS
(all drives at 50% or more current capacity)
Stock GT120GFX
GTX285
Blackmagic Decklink Extreme 3D to HDLinkPro
2 Monitors (1 to each GFX card)
1 Plasma monitor out of the Decklink
Now that's out of the way, here's the scenario:
Using Blackmagic Design sequence presets in Premiere and Dyanamic Linking AE comps in the Premiere sequence . Playing back the sequence results in CS5 stopping playback because "Dropped Frames Detected"
This ONLY occurs in the following situations:
- with any BMD preset
- only unrendered (yellow) timeline comps
Rendering the timeline (sot it's green) results in uninterrupted playback
The comps have no problems in AE
Premiere exhibits no playback issues outside of BMD presets
Premiere exhibits no playback issues with other footage
All fingers point to something internal when in a BMD preset. But could a drive be failing? Something else?
Thanks.

Shouldn't this be normal behavior for a Dynamic Link AE comp? If it's dynamically linked, it means it's not rendered, so Premiere is trying to play the AE comp in realtime (like hitting the play button in AE without doing a RAM preview). If the comp in AE is simple enough that it will play realtime in AE without doing a RAM preview, but still will not play realtime in Premiere on a BMD timeline, it could be do to the RGB to YUV conversion. AE only outputs in RGB, while a Decklink card (unless otherwise set in the preferences) outputs in YUV, so it needs to do a RGB/YUV conversion when playing the AE comp, and that can slow things down.
I use a Decklink card and I find if I have a Dynamic Link comp in Premiere that stutters on playback, it will sometimes then play realtime after the initial playblack. I'm guessing Premiere might be caching the frames similar to an AE RAM preview.
Todd, I believe the playback resolution setting is ignored on a BMD timeline.

Motion projects appear darker in FCP.

motion projects appear darker in FCP.
Any clue what could I be doing wrong for this to happen ?
L.
dual xeon 3ghz Mac OS X (10.4.8)

I tried to switch between all the various options (render RGB, 8bit yuv, ....) of the render. But did not notice any significant amelioration if any at all.
here's an expample of how he quicktime player renders the image as intended and fcp doesnt.
http://homepage.mac.com/laurentbriet/.Movies/motionFCPcolorchange.png
L.
dual xeon 3ghz, nvida 7300, 3Gb ram Mac OS X (10.4.8)

RGB vs YUV rendering

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