[Tig] ProRes444 necessary when grading BW
carl at stopp.se
Mon Mar 18 20:38:09 GMT 2013
That's weirded. I've had the exact OPPOSITE experience.
I really prompt NOT to deliver Prores4444 (or any 444 codec) after I've
graded and they go into FCP.
>From my experience FCP doesn't work too well in a RGB world. (Unless you
know what you are doing)
I've seen issues where the image gets incorrectly translated regarding full
vs legal range and also the gamma would change.
And I get 'less' problems if I deliver 422hq.
At least I get less phonecalls from clients after I've graded if I give
then 422hq. If I go for 4444 the often call back and has issues with 'it
doesn't look the same in my laptop'.
A colleague of mine did a test to compare if Prores could 'replace' dpx or
tif in a professional posthouse. It would have been nice since it could cut
the bandwidth a lot. But unless you really (really really!) test and verify
all your pipeline with every software you will most likely mess up the
Even the same software just different releases can make a big difference.
And even if you have the 'verified' software that you know works... If you
did a OSX or QT software update it could mess it all up anyway.
If you are interested in reading his 'blog post':
I do work for Stopp.
But no connection to OSX or QT.
(Sent from mobile device)
Office +46 8 50 70 35 00
*Stockholm | Los Angeles | Linz*
17 mar 2013 kl. 04:28 skrev Tom Rovak <trovak at comcast.net>:
While these are all good reasons to grade from ProRes444. One of the most
important aspects of ProRes444 is when rendering out , it is the only codec
that Final Cut does not change or alter the gamma curve of the color
corrected files. It is the only ProRes file I will deliver, if the project
is to go back to Final Cut to finish.
Tom Rovak - Sr. Colorist / Post Production Supervisor
ROVAK COLORIST SERVICES
Commercials, Feature Films, Music Videos
trovak at comcast.net
Website / Commercial Reel: http://colorist-rovak.com/
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