At the risk of overtooting the horn, I'm starting a new thread for this, as someone pointed out that the posts at the bottom of the megathread take forever to load. Enjoy.
All constructive response welcome.
[EDIT]: Recently released figures suggest that combined 2010 sales of DSLR, Pocket HD, Point-and-Shoot, GoPro, Hybrid digitals, and HD-capable phones exceeded 250 Million units. Many (if not most) of these devices nominally deliver some flavor of AVC at 0-255 levels in full light. Another 13 million AVCHD and HDV camcorders (roughly 5% of the market), typically default to the 16-255 range.
The approach that we chose to develop in response, is WYSIWYG with regard to the Vegas preview, even if effects are added, and FAILSAFE in the sense that clipped playback will never occur in the current generation of players. In fact, the resulting hard-clamped levels should be suitable for broadcast applications assuming other criteria are met.
While the basic method results in slightly elevated blacks when applied to the 16-255 shooting variant, the modified levels filter detailed at 9:05 in the tutorial effectively addresses this, again for those who do not have the advantage of video scopes. In any event, I am convinced that some form of filtering is preferable to condoning the clipped output that is the result of doing nothing.
All constructive response welcome.
[EDIT]: Recently released figures suggest that combined 2010 sales of DSLR, Pocket HD, Point-and-Shoot, GoPro, Hybrid digitals, and HD-capable phones exceeded 250 Million units. Many (if not most) of these devices nominally deliver some flavor of AVC at 0-255 levels in full light. Another 13 million AVCHD and HDV camcorders (roughly 5% of the market), typically default to the 16-255 range.
The approach that we chose to develop in response, is WYSIWYG with regard to the Vegas preview, even if effects are added, and FAILSAFE in the sense that clipped playback will never occur in the current generation of players. In fact, the resulting hard-clamped levels should be suitable for broadcast applications assuming other criteria are met.
While the basic method results in slightly elevated blacks when applied to the 16-255 shooting variant, the modified levels filter detailed at 9:05 in the tutorial effectively addresses this, again for those who do not have the advantage of video scopes. In any event, I am convinced that some form of filtering is preferable to condoning the clipped output that is the result of doing nothing.