Color level chart final cut pro
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Higher and lower levels will be displayed on a waveform as video above 100/100IRE/235 and below 0/7.5IRE/16. Digital 100 (700 millivolts on some scopes), analog 100 IRE and 235 on the scale are also equal.
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On most waveform monitors digital 0, analog 7.5 IRE and 16 on this scale are all the same level. This standard was derived from both camera design and legacy analog NTSC transmission. The nominal black point is mapped to 16 and the white point to 235, which permits level excursions without clipping: 0-16 for shadow detail and 235-255 for highlight recovery. Digital video levels are generally expressed using an 8-bit/256-step scale. This is explained well by Janusz Baranek in this Avid Community thread.Ĭontrary to popular opinion, both NLEs work within the digital video standards for levels and color space – aka Rec. FCP clips will be optimized for the computer display and appear to have more contrast and a different gamma value. Avid clips look flatter and more washed out inside Media Composer. Furthermore, two identical clips will appear to be different within each NLE’s interface. QuickTime Player is trying to optimize the file to look its best on your computer monitor however, it isn’t actually changing the file itself. QuickTime Player often changes a file’s appearance as compared with FCP, when it is used to play the file directly.
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This belief stems from the fact that FCP is based on QuickTime and permits a mixture of consumer and professional codecs. Many argue that FCP does not work within the proper video level standards, which is incorrect. One of the frequent misconceptions between Avid and Final Cut editors involves video levels.