The export settings were Rec709 Broadcast. Have you guys done testing to DPX? I just did a series of tests with my Rokinon 85mm Cine at various ISOs and E/V levels as well as some comparisons of profiles and exported everything through 5DtoRGB out to DPX which was then played back through a high end Christie cinema projector.
5DTORGB GH4 FULL
This is also why footage that is genuinely broadcast range looks correct when using the broadcast range setting, but looks low-contrast when transcoded as full range (even though there may be some extra highlight detail, so keep that in mind). In this case, using the broadcast range setting will give a much more contrasty image because 5DtoRGB is only considering the data within 16-235 (it is clipping shadow and highlight detail). If you don't notice a "flatter" image after transcoding using the full range setting, this is probably because the source is already full range.
5DTORGB GH4 SOFTWARE
You would never even know this was happening without trying to transcode the clips as full range, because any other piece of software that doesn't allow this (and most don't) would never give you the option. So, even though it's supposed to be that cameras shoot 16-235, they don't always stick to the plan, and clipped highlights are the result. That's why I added the option to 5DtoRGB to force the use of the entire 0-255 range.
5DTORGB GH4 MP4
I've seen it happen plenty of times, even with cameras that shoot to MP4 files. This is a fault of the camera, not the NLE. This data will be clipped in any normal NLE or software that doesn't give the option to transcode full range because it assumes, more or less correctly, that no data exists over 235.
Sometimes the camera will write highlight data - that's real information - above 235. However, some cameras still write data over 235. MTS files are typically understood to contain video levels in the 16-235 (broadcast) range. I'll use the example of a camera that shoots to MTS files. The reality is oftentimes very different. That is the way it is supposed to be, anyway.
If it does, there is still data in the file from 0-15 and 236-255, but it is usually nothing that contains any picture information. This is the case even if the camera shoots "broadcast" levels. That means they have 0-255 possible values for luminance. MTS, MOV or any other file compressed with H.264 are primarily 8 bit. This is also the correct way to do it, because it keeps compatibility with everything else in the post pipeline.
This is something I have no control over, and are written (and read) that way by the ProRes codec. ProRes files always use broadcast levels. I should probably clear up any ambiguity about what 5DtoRGB is doing, so here goes. I have spyder 4 and monitors are calibrated in gamma 2.2 6500k. When I then render with adobe media encoder, dnxhd 10bit, then the video's color is back to what it was in davinci. adobe displays the file in colorspace16-235 whereas davinci does it in 0-255. I get the coloring I want in davinci, but the adobe preview window after getting the davinci export is often a little washed out. I do this:Ģ) export to davinci, color correct in davinci,ģ) export to premeire (dnxhd 10bit quicktime, highest quality)Ĥ) and do whatever else there and in afterfx. The adobe preview while editing always is somewhat washed out. In Davinci, the preview window display(in terms of color) is superior in everyway to the preview window in premeire cs 6 and afterfx. I observe the following behavior while editing high bitrate mov files.
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