Premiere pro video formats no rgb parade
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Professionalism to company videos, weddings, AndĪdding transitions between the cameras isĮqually simple, just add it over the cut on the Touching any of your synchronized videos. Right on the Effect layer, without actually Switching between different cameras is done Multi-camera editing uses very clean approach. The other scopes work as expected.Thanks to the EditStudio unique layered Effects, Use All Scopes or Vect/YC Wave/RGB Parade to check the RGB values. Note that RGB Parade seems to always show whites as clipped, even if they are not. MainConsept MPEG Video codec, or its implementation, seems to be buggy.Īs a work around, before using Media Encoder, export the parts with corrected superwhites to movie, preferably with a non-lossy codec, and import back to your project.
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It appears that Media Encoder first clips superwhites and only then applies the filters. Does not work when using Adobe Media Encoder, unfortunately!Įxporting via Media Encoder always results in the original superwhites being clipped, even if the superwhites were brought down to legal values with the "good" filters. RGB Color Correction always clips the chroma.Īll of this works when exporting to tape, or exporting to movie. Also, RGB Color Corrector and Luma Corrector cannot bring superwhites down and clip the superwhites if used before one of the "good" highlight adjusting filters. The following filters are good for bringing down the superwhites recorded by the camera: Fast Color corrector, Three-Way Color Corrector, Luma Curve, RGB Curves, ProcAmp.Ĭombining any of the following to the stack will clip the superwhites even if the above "good" filters have been used to bring them down below 100IRE: Levels, Shadow/Highlight, Color Balance, Color Balance (HLS), Tint, Gamma Correction, and probably most of the rest. I had a more thorough look at the can - here are the worms. Your post has me thinking that something is broken on my installation. Yes, I mean they disappear in the sense that instead of showing what the paper towel looks like, it just becomes solid white. So when you say "you can't do this" with other filters, what are you meaning exactly? That the suoerwhites disappear? Is so, thats not the case with my computer. I can only get the pattern detail of the paper towel to appear if I apply the Fast Color Corrector or RGB Curves, in which case it looks like the second frame I posted (superwhite-FCC-215.jpg), which is the look that I desire.
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So when you load the m2t in Premiere, you see the pattern detail (dots and diagonal lines) all over the paper towel? Without applying any effects?įor me, the paper towel looks solid white in the Program Monitor, like the first frame I posted (superwhite-no-effects.jpg). However.I can also get much the same result with Adjust/Levels (by reducing RGB White) and with RBG Color Corrector (by reducing gain). What does all this mean? Is there any other or better way to restore superwhites in Premiere?ĭaniel, the image looks the same here, with and without Fast Color Corrector applied. I also tried converting the files to Cineform (Neo HDV trial), but the highlight detail was still clipped when viewed with avisynth+virtualdub. Furthermore, it doesn't clip them in any of the video effects, including curves and levels. I tried using Sony Vegas, and it impressed me greatly by saving the superwhites automatically: no extra work necessary. Sony Vegas shows the IRE clipping at 110 in its YC Waveform, but Premiere doesn't clip until around 117 or so on the same frame. I would have expected 235 to be a sufficient output level to restore the superwhites, but it actually took exactly 215, not a hair more or less. Unfortunately, adding any other video effect clips the highlights again, even if the Fast Color Corrector is isolated from the other video effects by nesting a sequence. This restores the highlight detail in the program window as well as all the output options, including still frame extraction, which has the superwhites mapped to 255. Premiere Pro normally clips that detail, but I found a way to get at it: add the Fast Color Corrector effect and set the output level to 215. The HDV files created by my Canon XH-A1 HDV contain a lot of detail in the superwhites: the 235-255 or 100-110 IRE range.