\newline Presets: \textit{DNxHR, ffv1, AVC\_Intra\_100}
\item[MOV] Created by Apple. It is a suitable format for editing because it organizes the files within the container into hierarchically structured \textit{atoms} described in a header. This brings simplicity and compatibility with various software and does not require continuous encoding/decoding in the timeline.
\newline Presets: \textit{DNxHR, ffv1, CineformHD, huffyuv}
- \item[PRO] Different extension, but it is still mov. Prores is proprietary and there are no official encoders except the original Adobe one. The engine used by ffmpeg is the result of reverse engineering and, according to Adobe, does not guarantee the same quality and performance of the original\protect\footnote{https://support.apple.com/en-us/HT200321}. Option \textit{vendor=apl0} is used to make it appear that the original Apple engine was used.
+ \item[PRO] Different extension, but it is still mov. Prores is proprietary and there are no official encoders except the original Apple one. The engine used by ffmpeg is the result of reverse engineering and, according to Apple, does not guarantee the same quality and performance of the original\protect\footnote{https://support.apple.com/en-us/HT200321}. Option \textit{vendor=apl0} is used to make it appear that the original Apple engine was used.
\newline Presets: \textit{ProRes; ProRes\_ks}
\item[QT] Different extension, but it is always mov.
\newline Presets: \textit{DNxHD, magicyuv, raw, utvideo}
Let us give an example of color workflow in \CGG{}. We start with a source of type YUV (probably: YCbCr); this is decoded and converted to the chosen color model for the project, resulting in a \textit{temporary}. Various jobs and conversions are done in FLOAT math and the result remains in the chosen color model until further action. In addition, the temporary is always converted to sRGB 8-bit for monitor display only. If we apply the \texttt{ChromaKey (HSV)} plugin, the temporary is converted to HSV (in FLOAT math) and the result in the temporary becomes HSV. If we do other jobs the temporary is again converted to the set color model (or others if there is demand) to perform the other actions. At the end of all jobs, the obtained temporary will be the basis of the rendering that will be implemented according to the choice of codecs in the render window (\textit{Wrench}), regardless of the color model set in the project. If we have worked well the final temporary will retain as much of the source color data as possible and will be a good basis for encoding of whatever type it is.
For practical guidelines, one can imagine starting with a quality file, for example, \textit{10-bit YUV 4.2.2}. You set the project to \texttt{RGBA-FLOAT}; the \texttt{YUV color space} to your choice of Rec709 (for a FullHD) or BT 2020NCL (for UHD) and finally the \texttt{YUV color range} to JPEG. If the original file has the MPEG type color range then you convert to JPEG with the \texttt{ColorSpace} plugin. If you want to transcode to a quality intermediate you can use \textit{DNxHR 422}, or even \textit{444}, and maybe do the editing step with a \textit{proxy}. For rendering you choose the codec appropriate for the file destination, but you can still generate a high-quality master, for example \textit{ffv1 .mov} with lossless compression.
+
+\begin{figure}[htpb]
+ \centering
+ \includegraphics[width=1.0\linewidth]{color_01.png}
+ \caption{Color settings (Settings $\rightarrow$ Format / Settings $\rightarrow$ Preferences)}
+ \label{fig:color_01}
+\end{figure}
projects / goodguy / cin-manual-latex.git / blobdiff