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23rd September 2020, 22:52 | #21 | Link | |||
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@poisondeathray
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Input #0, avisynth, from 'input.avs': Duration: 00:00:10.00, start: 0.000000, bitrate: 0 kb/s Stream #0:0: Video: rawvideo (Y3[0][10] / 0xA003359), yuv444p10le, 640x480, 24 fps, 24 tbr, 24 tbn, 24 tbc At least one output file must be specified Quote:
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23rd September 2020, 23:07 | #22 | Link |
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The problem is your script. It's returning YUV420P16
The problem line is Code:
return(result) Code:
#return(result) result Last edited by poisondeathray; 23rd September 2020 at 23:10. |
23rd September 2020, 23:12 | #23 | Link | |
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Code:
Blankclip(pixel_type="YV12").KillAudio() convertbits(16) ConverttoYUV444() Prefetch(4) ConvertBits(bits=10, dither=1) info() |
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23rd September 2020, 23:19 | #25 | Link | |
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24th September 2020, 19:20 | #26 | Link |
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@poisondeathray
You solved it!!! Thanks again, now I can make my movie FFMPEG now reports it correctly as yuv444p10le. Enormous difference colour grading the 10 bit version compared to the 8 bit one. |
24th September 2020, 20:23 | #27 | Link | |
Cary Knoop
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Location: Newark CA, USA
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The same with converting 4:2:0 to 4:4:4, while there are some specific reasons this might be a good idea it usually is not. |
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24th September 2020, 21:35 | #29 | Link | |
Cary Knoop
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I actually recommend using 32-bit floats as much as possible for internal processing. Upsampling to 4:4:4 right before you encode is totally meaningless if you want to process the results into Resolve. Looking at your workflow I am not quite sure the result will actually be an improvement. Especially the "shine" process raises some questions with me. But I await the pre and post comparison. Also this caught my attention: Stream #0:0: Video: rawvideo (Y3[0][10] / 0xA003359), yuv444p10le, 640x480, 24 fps, 24 tbr, 24 tbn, 24 tbc 640x480 for a 4k source? Quite a waste if you ask me. If that is your target resolution, then there is a far better way to turn your 4:2:0 into 4:4:4 by resizing the the luma and chroma planes differently. Last edited by Cary Knoop; 24th September 2020 at 21:38. |
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24th September 2020, 21:44 | #30 | Link |
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@Cary Knoop
Do it your way thats fine and yes I get a huge improvement. Now with the 10 bit Prores I get I can finally use the 3DLuts on it without introducing horrible banding and creeping noise I got with the old Avisynth with maximum 8 bit support. The "shine" is like a glow, instead of just blurring the image loosing detail I overlay an expanded blur to shine over like a physical "pro mist" filter kind of. I still keep the detail. Just watch the clips if you are interested https://we.tl/t-yOeb6Tolr4 |
24th September 2020, 21:56 | #32 | Link | |
Cary Knoop
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Quote:
Just take a second from the out of camera clip by for instance doing: ffmpeg -i clip.mov -ss 10 -t 1 -c:v copy test.mov This will take one second from the clip at the 10 second marker. Leaving -ss out will take the 1 second from the start. |
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24th September 2020, 22:01 | #33 | Link | |
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@Cary Knoop
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Thanks, I will use that (ffmpeg -i clip.mov -ss 10 -t 1 -c:v copy test.mov) tomorrow when I get home and post a link. |
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26th September 2020, 18:02 | #34 | Link | |
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ProRes decoder/encoder got some updates recently and they are bit better now, though still not perfect when it comes to details (compared to Apple reference encoder). |
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26th September 2020, 18:42 | #35 | Link | |
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It's better to use high bitdepth for levels limited to full conversion, chroma upscaling, rgb conversion and of course filtering. |
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26th September 2020, 18:49 | #36 | Link | |
Cary Knoop
Join Date: Feb 2017
Location: Newark CA, USA
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Quote:
But an 8-bit source is not going to be magically 10 bits or higher due to processing. And a 4:2:0 source is not going to be magically 4:4:4. |
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