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O
Offbeat Bryce Productions
Inspiring
March 4, 2018
Answered

transcoding 8 bit to 10 bit suddenly will improve color correction?

  • March 4, 2018
  • 1 reply
  • 5742 views

I keep reading articles all over the web claiming that if someone transcodes their 8 bit camera footage to 10 bit it somehow magically makes the colors pop and color correction is easier. I don't see how this is possible when the original is already 8 bit. The only thing I do know transcoding does is it creates timecode, smoother playback and sometimes faster renders

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Correct answer excited_Genie16B8

You won't improve the original.  But the effects you use may produce better results when used on 10 bit footage.

1 reply

E
excited_Genie16B8Correct answer
Legend
March 4, 2018

You won't improve the original.  But the effects you use may produce better results when used on 10 bit footage.

O
Offbeat Bryce ProductionsAuthor
Inspiring
March 5, 2018

so once I have my picture locked should I export it to say Cineform then do the effects?

R Neil Haugen
R Neil Haugen
Legend
March 5, 2018

What exactly is a DI file? is that the term for Cineform or DNXHD? Just so I'm clear do you reccomend I use my native media such as AVCHD and then export the sections I want to apply certain effects to as Cineform or DNXHD then apply the effects or can I apply the effects then export as either of those formats?

Also how do I know which type of effect I should be exporting to those formats? I assume just basic color is fine with my native footage by using an adjustment layer in premiere by using lumetri color.


A digital intermediate file is used when, because of multiple heavy effects that will be needed for the job, you need to do part of the work, then render that clip in a codec/flavor chosen to guarantee no loss of at least visual quality when brought back into the sequence to do the next bit of work. Often used are Cineform YUV, DNxHD/R at HQ or better, or ProRes 422 in a high-quality (and low compression) flavor. In really high-end work you might choose to go DPX.

In some projects, most clips are fine front to back. But say a few clips are going to need all of video noise reduction, re-sizing, Warp stabilizer, and heavy color correction.

You do that on a clip, it's gonna slow it down ... and might not all work perfectly overlayed on a sequence on a particular computer. Ergo, say do the noise and Warp Stabilizer ... export to a big intraframe high-Q codec, re-import and replace the original clip on the sequence. Now you can do the rest of the work. And as it's an intraframe codec, NOT a long-GOP interframe, it will fly through the CPU much easier.

Most basic Lumetri I just do on the clip. I only do A-L applications when I need additional layers and wish to keep my control surface fully usable as like the Lumetri panel itself, control surfaces only work on the 'last' Lumetri instance on a clip. Or when I'm applying a scene-wide or project wide Look.

Neil

Everyone's mileage always varies ...
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