Hi, DPX export are Colours washed out can u please any one give me some solutions for this? In Adobe media encoder and premier Pro working correctly with DPX out put. But in fcpx and compressor making a colours washed out DPX anyone know for resolution for this ?
So with AD tracks, you need to export ALL your audio, not just the AD role? If you did that, would you just get the description, but nothing else when switched in QT?
I would like to transcode full levels to video levels (between 0 and 100 luminance) but last time I checked there's no way in Compressor, am I missing something?
@@rippleguys Yeah, I use a Retina 4K, "it does not send 16-235" -> don't understand this technicality. BTW I need to transcode it to video levels before editing so that all the gamma adjustments work properly.
@@IsaacRC You adjust gamma per your delivery medium. If you are delivering for the web or any device, then there is nothing you need to do. The Standard Rec 709 gamma for the library you are working in is automatically correct for those delivery mediums
@@rippleguys Yeah, I deliver for web but need to correct it to video levels otherwise when applying LUTs clamps bottom and top for example (Resolve user) cutting off image information in the extremes. Even the latest a7sIII gives full levels out of the camera. I use Sony Catalyst Browse to solve it transcoding to "sRGB" but doesn't allow transcoding 4K Prores without an expensive subscription plan and there's ffWorks app. that transcodes full to video levels no problem - but prores it's not even liscenced-. I prefer Compressor as a solid transcoding app. that's why it's strange to not find this option anywhere.
@@IsaacRC Let's step back a minute. I use the Sony A7s3. It captures 14 stops of dynamic range when you use the SLoG/3 cine. When it comes into final cut a Raw to Log conversion is applied, then a sony camera LUT is applied. (btw, recording ProRes RAW to Atomos recorder) I'm not losing ANY information. None. You can apply the same raw to log conversion and camera LUT in compressor. The video intro was shot with the Sony a7s3
