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Adobe premiere trial 32 bit12/4/2023 ![]() Extremely marginal, but you can tell on a zoom-in. 48/3=16Īlthough your codec is only 10 or 12 bpc, I've found that over-sampling to 48 bits is better than up-sampling from 24 bits. Here's the bit-depth information as I understand it.Ī depth of 24-bits is equal to 8-bits per channel (R,G,B) 24/8=3Ī depth of 48-bits is equal to 16-bits per channel (R,G,B). White paper is correct ! After a deep dive over the last few days. ( Note: LikeAppleProRes4444XQandAppleProRes4444,allAppleProRes422codecs can in fact accept image samples even greater than 10 bits, although such high bit depths are rarely found among 4:2:2 or 4:2:0 video sources.) All Apple ProRes 422 codecs support up to 10-bit image sources, though the best 10-bit quality is obtained with the higher-bit-rate family members-Apple ProRes 422 and Apple ProRes 422 HQ. 4:4:4 sources include high-end lm scanners and lm-like digital cameras and can include high-end computer graphics.Īpple ProRes 4444 XQ and Apple ProRes 4444 support image sources up to 12 bits and preserve alpha sample depths up to 16 bits. 4:2:2 video sources rarely exceed 10 bits, but a growing number of 4:4:4 image sources claim 12-bit resolution, though with sensor-derived images the least signi cant one or two bits may have more noise than signal. 10-bit imagery is now often found in 4:2:2 video sources with professional digital (SDI, HD-SDI or even HDMI) outputs. In recent years the number of professional devices and acquisition techniques supporting 10-bit and even 12-bit image samples has increased. ![]() Traditionally, digital images have been limited to 8-bit samples. Sample bit depth also determines the smoothness of subtle color shading that can be represented across an image gradient, such as a sunset sky, without visible quantization or “banding” artifacts. The number of bits used to represent each Y’, C B, or C R (or R, G, or B) image sample determines the number of possible colors that can be represented at each pixel location.
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