HDMI Capture Problem SOLVED - AviSynth RULES!

SCRIPT UPDATE

I have updated the script in the first post, to include GrgurMG's chroma fix (with some new pictures to illustrate it). I have also added some minor tweaks to a few parameters. These changes are based on continuing work of using the script on a wide variety of footage. One of the nice things about working with Avisynth is that none of this is set in stone. You're always free to experiment and change anything you want.
 
Thanks for your efforts om this, and I look forward to test the script when I learn the avisynth procedure.

One question: Might be difficult for NTSC people to answer, but I wonder if the procedure is the same on PAL GH2 models? Or is the hdmi ouput set to 50i and would require different avisynth paramethers to retrieve a progressive capture?

Thanks!
 
evero said:
Thanks for your efforts om this, and I look forward to test the script when I learn the avisynth procedure.

One question: Might be difficult for NTSC people to answer, but I wonder if the procedure is the same on PAL GH2 models? Or is the hdmi ouput set to 50i and would require different avisynth paramethers to retrieve a progressive capture?

Thanks!
Click to expand...

Very good question, and one I would like to answer definitely. I have only one piece of HDMI PAL footage, and apparently the capture device wasn't working properly because there are many glitches in it. Nevertheless, I was able to remove the pulldown, and it looks quite good (or at least as good as it can look, given the poor source material). So, yes, I believe the script, with some adjustments, will work for PAL, but I would like to test it on some high quality footage before I say for sure.
 
Ralph B said:
Very good question, and one I would like to answer definitely. I have only one piece of HDMI PAL footage, and apparently the capture device wasn't working properly because there are many glitches in it. Nevertheless, I was able to remove the pulldown, and it looks quite good (or at least as good as it can look, given the poor source material). So, yes, I believe the script, with some adjustments, will work for PAL, but I would like to test it on some high quality footage before I say for sure.
Click to expand...


Hi,

I'm from Spain, and I can provide footage from my GH2 (when I get my Atomos) to Ralph or any user interested in hacking the HDMI 50i signal. Please contact me. :)

Thanks guys.

P.S. If there's a way to record a few seconds of footage from the HDMI output without the Atomos, please tell me how, me so I don't have to wait for the Atom to arrive.
 
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Hi everyone! New here.

I'm wondering if anyone here has tried this script with footage captured from a ki pro mini?

It's very likely that I'm going to have access and be able to test my GH2 with a ki pro mini in the near future. I guess my two big concerns are setting the capture rate to 30fps and working with Prores 4:2:2 inside avisynth. Otherwise I figure it should be fine, but I'm wondering if there are any reasons it may not, and if anyone else has tried it and has advice to share.

Also I'd be glad to share the results of the test with you fine people.

And thanks Ralph B. This is quite awesome.
 
roguebot said:
It's very likely that I'm going to have access and be able to test my GH2 with a ki pro mini in the near future. I guess my two big concerns are setting the capture rate to 30fps and working with Prores 4:2:2 inside avisynth. Otherwise I figure it should be fine, but I'm wondering if there are any reasons it may not, and if anyone else has tried it and has advice to share.
Click to expand...

Opening up a Prores file in Avisynth is easy. You need to install Quicktime for Windows, Quicktime ProRes Decoder, and have qtsource.dll in you Avisynth plug-in folder. The first two you get from Apple, and you can get qtsource here:
http://www.tateu.net/software/

The unknown question is whether the ki pro will work with the GH2. Looking over it's specs, I don't see any mention of 30.0 fps, so you'll just have to plug the camera in and see whether you get a picture. By all means, let us know what you find!
 
timetraveller said:
Hi,

I'm from Spain, and I can provide footage from my GH2 (when I get my Atomos) to Ralph or any user interested in hacking the HDMI 50i signal. Please contact me. :)

Thanks guys.

P.S. If there's a way to record a few seconds of footage from the HDMI output without the Atomos, please tell me how, me so I don't have to wait for the Atom to arrive.
Click to expand...

Yes, I'd love to see PAL footage recorded with the Atomos! Hopefully, the Atomos won't have any problem 'seeing' the PAL GH2's signal.

As far as recording without the Atomos, well, you got to have some sort of HDMI capture board in your computer.
 
What I don't get is that the pre-production GH2 outputted 24p via HDMI, rather than putting it in an interlaced wrapper, yet the production model not only puts a pulldown on it, but adds another layer of it on top. :( Panasonic mustn't have wanted it to compete with the AF100... that is, until Ralph came along and made an awesome script that dodged around their unfair tactics. :) Great work Ralph!

I wonder how the PAL GH2 does things. Does it output 50i when in 24p mode, instead of 60i? If so, I wonder if that would result in a more consistent wrapper pulldown, "2:2:2:2:2:2:2:2:2:2:2:3". I hope so. :)
 
Matthew P said:
What I don't get is that the pre-production GH2 outputted 24p via HDMI, rather than putting it in an interlaced wrapper, yet the production model not only puts a pulldown on it, but adds another layer of it on top. :( Panasonic mustn't have wanted it to compete with the AF100... that is, until Ralph came along and made an awesome script that dodged around their unfair tactics. :) Great work Ralph!

I wonder how the PAL GH2 does things. Does it output 50i when in 24p mode, instead of 60i? If so, I wonder if that would result in a more consistent wrapper pulldown, "2:2:2:2:2:2:2:2:2:2:2:3". I hope so. :)
Click to expand...

you mean once it's hacked (once upon a time in the future, that is) it would be able to output 24p again ?
 
Matthew P said:
What I don't get is that the pre-production GH2 outputted 24p via HDMI, rather than putting it in an interlaced wrapper, yet the production model not only puts a pulldown on it, but adds another layer of it on top. :( Panasonic mustn't have wanted it to compete with the AF100... that is, until Ralph came along and made an awesome script that dodged around their unfair tactics. :) Great work Ralph!

I wonder how the PAL GH2 does things. Does it output 50i when in 24p mode, instead of 60i? If so, I wonder if that would result in a more consistent wrapper pulldown, "2:2:2:2:2:2:2:2:2:2:2:3". I hope so. :)
Click to expand...

Did the pre-production GH2 really output a native 24P through the HDMI? I didn't know that. If true, it would give hope that Vitaliy could actually do something to fix it.
 
Ralph B said:
Did the pre-production GH2 really output a native 24P through the HDMI? I didn't know that. If true, it would give hope that Vitaliy could actually do something to fix it.
Click to expand...

Yeah, it's on Philip Bloom's site.

IMG_2723.jpg


http://philipbloom.net/2010/09/30/my-first-look-at-the-gh2-clean-hdmi-out/

That was when there was text on the screen, I believe. So Panasonic decided to remove the text, but include a pulldown. I guess they figured that people would try cropping the text out.

It's also interesting that he mentions 25p several times (and in later blog entries), but said that it was "the inadequate 17Mbps mode". You don't suppose that the pre-production model had the option of 25pF, but was excluded to protect the AF100?!
 
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One "silly" question: if you're about shooting something that it's going to end in 2,35 format, if you record de output HDMI signal in recording instead of preview, then you get true 24p??

I know you'd have the recording logo, but when you crop to 2,35 format, you won't see it anymore.

So my question is: that signal (output when the camera is recording) is completely clean or not?
 
Matthew P said:
Yeah, it's on Philip Bloom's site.

That was when there was text on the screen, I believe. So Panasonic decided to remove the text, but include a pulldown. I guess they figured that people would try cropping the text out.
Click to expand...

Sorry to be a sceptic, but all Philip Bloom was describing was the text and logo that was being displayed on the screen. There was no mention of whether pulldown was being inserted or not. In fact, on that page he says he didn't even shoot with the camera, let alone record through the HDMI.

So, from what I see, the only difference with the HDMI between pre-production and production, is that Panasonic removed the logo and text. Of course, I'll be happy to be proven wrong.
 
Ralph B said:
Sorry to be a sceptic, but all Philip Bloom was describing was the text and logo that was being displayed on the screen. There was no mention of whether pulldown was being inserted or not. In fact, on that page he says he didn't even shoot with the camera, let alone record through the HDMI.

So, from what I see, the only difference with the HDMI between pre-production and production, is that Panasonic removed the logo and text. Of course, I'll be happy to be proven wrong.
Click to expand...

It's all guessing I suppose, but his monitor DOES say that the input is 24hz when the camera starts recording (according to what he wrote in the blog post). Apparently, before record is hit, the pre-prod gh2 outputs 50i. I doubt that a monitor would say 24hz for an interlaced stream, even if it's proper 25pf, let alone 24p in 50i with a wacky pulldown. Just my personal view of it mind. It's always nice to think that the camera has some to-be-unlocked potential. :)
 
Ralph B said:
Sorry to be a sceptic, but all Philip Bloom was describing was the text and logo that was being displayed on the screen. There was no mention of whether pulldown was being inserted or not. In fact, on that page he says he didn't even shoot with the camera, let alone record through the HDMI.

So, from what I see, the only difference with the HDMI between pre-production and production, is that Panasonic removed the logo and text. Of course, I'll be happy to be proven wrong.
Click to expand...
But now you've solved that, no?
 
Matthew P said:
It's all guessing I suppose, but his monitor DOES say that the input is 24hz when the camera starts recording (according to what he wrote in the blog post). Apparently, before record is hit, the pre-prod gh2 outputs 50i. I doubt that a monitor would say 24hz for an interlaced stream, even if it's proper 25pf, let alone 24p in 50i with a wacky pulldown. Just my personal view of it mind. It's always nice to think that the camera has some to-be-unlocked potential. :)
Click to expand...

IMG_2723.jpg


Exactly! The text is generated by the Marshall monitor; reading that it has received a 24hz stream form the GH2. The green dot behind the 1 on the overlay text is from the GH2. We all know or suspect what Panasonic did here- and it's a pretty sh*ty thing to do!

To bad Voltaic or Cineform couldn't write some code that could untangle the current way it outputs. If were lucky, a hack will happen!


Pappas
http://www.facebook.com/PappasArts
http://www.pbase.com/Arrfilms
http://www.PappasArts.com
 
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A NEW SCRIPT FOR 1080 60i FOOTAGE

It took quite a while, but here it is. I've updated the first post with a new script for 1080 60i.
I know people around here are primarily intersted in progressive and tend to brush interlace aside.
But, if you have a GH2 and an HDMI capture device, I would encourage you to shoot some 1080 60i material.
It's really quite beautiful and way superior to the in-camera 720 60P.
 
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