GH2 transcode with 5D2RGB
- Thread starter Mike_Bluestone
- Start date
Phil Rhodes
Well-known member
I appreciate there are people in the world who need to use Avid because, well, you need to have the word Avid on your invoices somewhere.
But good grief, is there never going to be a counterreaction to all this "convert it in our specialist converter which will take overnight" malarkey?
But good grief, is there never going to be a counterreaction to all this "convert it in our specialist converter which will take overnight" malarkey?
Pietro Impagliazzo
Well-known member
Sorry, folks - I had to delete that message. For some reason the forum software decided to recompress my demonstration image as a tiny JPEG, which completely obscured the intent of the thing.
What it was supposed to be was this 100% crop as a PNG, in which the difference is crystal clear.
Again, my previous post was meaningless as a demo - ignore that, look at this. It's clear which is better, although I think taking the edges off the chroma channels probably does cost some perceived resolution, even if that resolution was really just aliasing and poor chroma upsampling all along. There is a small - in my view insignificant - colour shift. That's probably fixable in the coefficient designer.
This is 5D footage, for the record, but the same issue applies.
I thought this issue arised from wrong chroma interpretation. Adobe CS5 also gives me this.
Am I right in the conclusion that NeoScene would give me the same result?
roei z
Veteran
What can I do Phil?
Avid has the perfect interface for me. I just cannot
Use anything else...
JamesRitson
Member
Hey roei z, thanks for the PM and letting me know about the latest Avid version, I'll get my copy updated and see if I can import GH2 clips then!
As far as pixel mapping goes, if you're importing straight from the .mts files try RGB. If you use 16-235, you might inadvertently clip the top and bottom values. Easiest way to find out is to import the same clip twice using both options, then see which one is closer in brightness and contrast to the original clip.
Hmm, don't know about using the program just for its name! I use Avid because it allows me to work fast, it's incredibly stable, has great media management, and also gives me the widest range of export options. My clients don't really care what I use to edit with! I also like to pre-process my footage using Avisynth to clean it up, so even if I were to use another NLE, it wouldn't shave any time off that procedure.
Another consideration is that my computer is about five years old now. It's an old quad core machine that I built myself, and I'm in no hurry to upgrade it. Sure, I could blow money on a Core i7 and a CUDA graphics card, which will mean purchasing a new motherboard and DDR3 memory, just for the privilege of being able to edit a delivery codec in real time. That seems to be the fashionable thing to do right now.
Or I could continue to work with Avid and DNxHD and enjoy the stability and ease of use it offers, along with its sublime media management. I frequently edit programmes and other features that are 1-2 hours in length, and the last time I tried to edit anything of that length in Premiere (using CS4 I believe), it was an exercise in pure frustration, for a number of reasons. I can't comment on Final Cut because I don't use a Mac very often, but from what I understand it's difficult to achieve real-time playback and editing using the source H264 media in that program too.
I'm not averse to change, and I welcome new advances in technology, but once you have a system that works flawlessly it's seldom a good idea to scrap it completely and adopt a new one!
As far as pixel mapping goes, if you're importing straight from the .mts files try RGB. If you use 16-235, you might inadvertently clip the top and bottom values. Easiest way to find out is to import the same clip twice using both options, then see which one is closer in brightness and contrast to the original clip.
Phil Rhodes said:
Hmm, don't know about using the program just for its name! I use Avid because it allows me to work fast, it's incredibly stable, has great media management, and also gives me the widest range of export options. My clients don't really care what I use to edit with! I also like to pre-process my footage using Avisynth to clean it up, so even if I were to use another NLE, it wouldn't shave any time off that procedure.
Another consideration is that my computer is about five years old now. It's an old quad core machine that I built myself, and I'm in no hurry to upgrade it. Sure, I could blow money on a Core i7 and a CUDA graphics card, which will mean purchasing a new motherboard and DDR3 memory, just for the privilege of being able to edit a delivery codec in real time. That seems to be the fashionable thing to do right now.
Or I could continue to work with Avid and DNxHD and enjoy the stability and ease of use it offers, along with its sublime media management. I frequently edit programmes and other features that are 1-2 hours in length, and the last time I tried to edit anything of that length in Premiere (using CS4 I believe), it was an exercise in pure frustration, for a number of reasons. I can't comment on Final Cut because I don't use a Mac very often, but from what I understand it's difficult to achieve real-time playback and editing using the source H264 media in that program too.
I'm not averse to change, and I welcome new advances in technology, but once you have a system that works flawlessly it's seldom a good idea to scrap it completely and adopt a new one!
Last edited:
Phil Rhodes
Well-known member
It's not "wrong" chroma interpolation, it's just "fast" chroma interpolation. The same artefacts are visble in the output from my DVB-T decoder, which is just MPEG-2.
P
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Pietro Impagliazzo
Well-known member
Duly noted.
asdfeproiu
New member
settings?
settings?
What are the 5DtoRGB settings you guys are using when exporting to ProRes? I'm using version 1.1b, Output Format ProRes 422, Decoding Matrix ITU-R BT.601, Gamma Flagging 1.8 (grayed out/no choice), tried both w/ and w/o Interlaced Mode checked, and I'm getting some interlace jaggies with my .mov output on my GH13 MTS files. I've been previously using FCP's Log and Transfer and then using Compressor to get rid of the pulldown with no problems.
settings?
What are the 5DtoRGB settings you guys are using when exporting to ProRes? I'm using version 1.1b, Output Format ProRes 422, Decoding Matrix ITU-R BT.601, Gamma Flagging 1.8 (grayed out/no choice), tried both w/ and w/o Interlaced Mode checked, and I'm getting some interlace jaggies with my .mov output on my GH13 MTS files. I've been previously using FCP's Log and Transfer and then using Compressor to get rid of the pulldown with no problems.
