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Old 18th October 2019, 14:37   #10  |  Link
FranceBB
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Join Date: Nov 2013
Location: Royal Borough of Kensington & Chelsea, UK
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Quote:
Originally Posted by Cary Knoop View Post
Are you sure you want to use Floyd–Steinberg dithering for H.264?
That's what I generally use. Shall I send to x264 the 12bit output directly and let it dither it down automatically to 8bit?
Ideally, I'd like to avoid getting banding artifacts while retaining as many details as possible. Since it's a documentary, though, there are many old archive footages that are very grainy (we had a discussion about them when I encoded them to make our internal mezzanine files and the director was against de-graining them as he wanted to keep the original with the original grain). Some other footages, instead, are the ones we shot in studio or travelling across the country but with accurately handled light in log with 17 stops which have then been graded to BT709 100 nits in post-production which is a waste considering that 17 stops are more than enough to get 1000 nits, but we decided to have our entire workflow as SDR for historical reasons. (i.e it didn't make much sense to have 4K HLG interviews perfect in every detail and a crappy 35mm digitalized and upscaled on the next scene).
The rest of the contents which are not interviews or archive footages are just relatively slow pan.
It has been entirely shot at 25fps progressive.

Last edited by FranceBB; 18th October 2019 at 14:41.
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