I have been trying to Edit/Export I444/rgb24 gameplay footage which was shot in OBS Studio 28.0.1 and saved as full range colour in yuvj444 format using the ffmpeg h264 software codec in a matroska container.
After hours of experimenting with different configurations and using the mlt_image_format=rgb24, color_range=jpeg, pix_fmt=yuvj444, pix_fmt=yuv444, or pix_fmt=rgb24 extensions in the Other tab of the Export File option, as wall as switching between jpeg and broadcast colour ranges, it has been impossible to obtain anything better than 4:2:2 subsampled output despite Shotcut reading the source as yuvj444 and the re-encoded/edited file as rgb24, yuv444, or yuvj444 in the editor Properties tab. While the files are saved as 4:4:4 the actual content has been sub-sampled by Shotcut as either 4:2:2 or 4:2:0.
A) Shotcut is decoding the perfect untainted yuvj444 encoded input file which OBS Studio created from the original gameplay and subsampling it as 4:2:2 thereby smudging and washing out all the colours, especially the r, g, and b primaries which are used in the onscreen displays, huds and overhead information tags (thus making them mostly unreadable), even from the raw files before they event touch the Timeline or any processing is applied at all.
Since ffmpeg is the codec that SM Player and VLC Player both use to decode perfect RGB footage from the original files I doubt ffmpeg can be the source of the subsampling unless it has been told to subsample in 422 format by Shotcut to begin with.
The video display window on Shotcut seems to only be able to display the footage using 420 subsampling despite Shotcut being able to save it as 422. Also the window does not scale properly when set to 100% in Editor mode. Instead the pixels become smudged as if they are being resampled for no reason. When set to Player mode and set to 100% only then is 720p footage pixel accurate except for the colour bleeding caused by the 420 subsampling. How can the display window be set to 444/rgb24?
B) After decoding the files Shorcut is processing them in some way before they reach the encoder, even without being placed on the Timeline, which causes them to be subsampled as 422 and is ignoring every command I have placed into the Other tab which should be telling it not to do that.
I can only presume that all the additional commands are being ignored or over-ridden since the output file encoding is rgb24 not yuvj444 or yuv444 as it was commanded to be set, as stated by Properties of the encoded file read back by Shotcut.
Using the libx264 codec the default output is 420 with no additional commands. With the additional, mlt_image_format=rgb24, color_range=jpeg, or pix_fmt=yuvj444, commands the output can be set to yuvj444 or yuv444 but the file which is produced is always sub-sampled as 4:2:2. Worse still the 4:2:2 output produced by Shotcut using this codec appears to be partly washed out compared to the stronger colours produced by the libx264rbg codec despite those also being sub-sampled to 4:2:2.
That is not really possible unless you use the hidden, unsupported, experimental GPU effects. The reason is because everything is done on CPU, and it is too slow to transfer the uncompressed full depth, full frame rate video over the bus to the GPU RAM. Well, that and because I did not program another option or pathway, and you get what I give you.
Is Shotcut capable of outputting a un-sub-sampled 4:4:4 rgb24 file at all?When can we see Shotcut do all processing in rgb24 and allow files to be edited and saved without any colour sub-sampling as yuvj444, yuv444 or rgb24 directly?
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Apple ProRes codecs provide an unparalleled combination of multistream, real-time editing performance, impressive image quality, and reduced storage rates. Apple ProRes codecs take full advantage of multicore processing and feature fast, reduced-resolution decoding modes.
All Apple ProRes codecs support all frame sizes (including SD, HD, 2K, 4K, and 5K) at full resolution. The data rates vary based on codec type, image content, frame size, and frame rate. Apple ProRes includes the following formats.
ProRes is basically used as an intermediate compression format and is not to be used to compress videos with an intention of getting high compression efficiency. The goal of ProRes is to retain the video quality while attaining an agreeable amount of compression.
quant_mat : Select quantization matrix. If this option is set to auto, the matrix matching the profile will be picked. If not set, the matrix providing the highest quality, default, will be picked.
Hey,Thanks so much for sharing this.With the new Apple Silicon, it seems that FFMPEG supports hardware acceleration using videotoolbox option.Would you be able to enlighten us on that?
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Since the human visual system is not as sensitive to color information compared to luminance information, most video codecs default to encoding the luma plane (Y') at full resolution, while using half or even quarter resolution for the chroma planes (Cb', Cr'). While slightly sacrificing video quality, this will result in data reduction.
In ffmpeg, chroma subsampling is performed by setting the corresponding pixel format of the output video stream. If you have an original source with full color information, ffmpeg will try to retain this information by choosing a matching output pixel format.
Depending on your use case, you may want to use a different pixel format, e.g., when you have a high-quality source that you are encoding for video streaming clients that do not support 4:2:2. In this case, you want to use 4:2:0 subsampling instead.
MP4, also known as MPEG4 is mainly a video format that is used to store video and audio data. Also it can store images and subtitles. Normally it is used to share videos over internet. MP4 can embed any data over private streams. Streaming information is included in MP4 using a distinct hint.
MOV is a video format that is commonly associated with QuickTime. This video extension is developed by Apple. It uses an algorithm to compress video and audio. Although it is a proprietary of Apple, it runs on both MAC and Windows OS.
Apple ProRes 422 HQ is a higher-data-rate version of Apple ProRes 422 that preserves visual quality at the same high level as Apple ProRes 4444 but for 4:2:2 image sources. With widespread adoption across the video post-production industry, Apple ProRes 422 HQ offers visually lossless preservation of the highest-quality professional HD video that a single-link HD-SDI signal can carry. This codec supports full-width, 4:2:2 video sources at 10-bit pixel depths, while remaining visually lossless through many generations of decoding and reencoding. The target data rate is approximately 220 Mbps at 1920x1080 and 29.97 fps.
Apple ProRes 422 is a high-quality compressed codec offering nearly all the benefits of Apple ProRes 422 HQ, but at 66 percent of the data rate for even better multistream, real-time editing performance. The target data rate is approximately 147 Mbps at 1920x1080 and 29.97 fps.
Apple ProRes 422 LT is a more highly compressed codec than Apple ProRes 422, with roughly 70 percent of the data rate and 30 percent smaller file sizes. This codec is perfect for environments where storage capacity and data rate are at a premium. The target data rate is approximately 102 Mbps at 1920x1080 and 29.97 fps. 041b061a72