rarevision 5dtorgb

egproductions said:
Hope its the real deal. Very appealing.
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It is definitely the real deal. We have been working on a completely cross-platform solution for Canon SLR owners, and are getting very close to a stable 1.0 release. I say "cross platform" because 5DtoRGB runs on Mac, Windows and Linux, but of course ProRes support is only available on the Mac. Windows and Linux users can output uncompressed QuickTime files (we are also working on DNxHD output) or DPX sequences.

djkarn105 said:
This:
Makes me more interested in it than this:
http://www.redgiantsoftware.com/products/all/magic-bullet-grinder/
which doesn't seem to be able to do anything I don't already have set up in compressor.
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Yep, they are doing the same old thing everyone else is, which is relying on Apple's built-in QuickTime H.264 decoder. It's too bad because it means the software is flawed from the start. The whole idea of 5DtoRGB is to bypass the QuickTime API altogether. Our tests show it is not the best solution for high end post.
 
Aye I saw how in the newest Zacuto test they got more quality our a PR422 than the h.264 mov from the card.

Why is it this processes gives better results? If it's converting from the h.264 original, then surely the information isn't there, so any quality improvement isn't real quality in that it's interpreted and created from scratch.

Or is there some get around whereby the h.264 records the raw data at a quality level higher than it then displays at and the PR422 conversion is able to grab this data and give a more true representation?
 
andrew00 said:
Aye I saw how in the newest Zacuto test they got more quality our a PR422 than the h.264 mov from the card.

Why is it this processes gives better results? If it's converting from the h.264 original, then surely the information isn't there, so any quality improvement isn't real quality in that it's interpreted and created from scratch.

Or is there some get around whereby the h.264 records the raw data at a quality level higher than it then displays at and the PR422 conversion is able to grab this data and give a more true representation?
Click to expand...

The Canon H.264 implementation stores data as 4:2:0 YUV (Y Cr Cb). What you see on your monitor is RGB. In order to get this YUV data to RGB, a conversion must take place. This conversion is where the output quality can vary. The same also holds true for conversion from 4:2:0 to 4:2:2. As you say, you have to interpolate the missing information since it's simply not there. Now with the Canon MOV files (which are YUV 4:2:0), the chroma channels are 1/4 the resolution of the luminance channel (960x540 vs 1920x1080). In the case of RGB conversion (like converting to DPX), these chroma channels must be scaled up to 1920x1080 and matrix decoded so we have discrete values for each pixel for all three colors (R,G,B). If the scaling technique is designed for speed or "average" uses (as is most likely the case with Apple's H.264 codec), you won't get a very good result. You may get blocky color channels, because the chroma channel scaling/interpolation isn't high quality. It all depends on how this conversion is done, and as I mentioned, not all converters/transcoders do this the same way. I made sure to address this specifically with 5DtoRGB, so we can now be sure we are getting the highest quality transcode.

You can read more about this here:
http://rarevision.com/5dtorgb/
 
Ditto. This is very intriguing. The only issue I can see is with the transcode time. If it takes an hour to transcode every minute of footage (or worse) then I'm not sure how practical it would be.

Crossing my fingers it will be usable.
 
MitchLewis said:
Ditto. This is very intriguing. The only issue I can see is with the transcode time. If it takes an hour to transcode every minute of footage (or worse) then I'm not sure how practical it would be.

Crossing my fingers it will be usable.
Click to expand...

unless it could somehow proxy off something

ie cut your piece in QT422

render out in this format

grade

S
 
Wow, part of my compression chain when doing pro work for clients was a chroma upsampling. 5dtoRGB could be useful for more than just canon DSLR video.

Even though I don't use FCP, I can say that FCP and Adobe Premiere Pro have some of the worst Chroma upsampling methods in use.

At least some of the pre-processing might possibly be moved in front of the encoding chain.
 
MitchLewis said:
Wow! This is great news! I wonder how much it will cost? I'm ready to buy! :)
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Our initial pricing will be very reasonable. Rarevision is primarily a post-production company, so we're not looking to make a killing in the software business. I'm more interested in offering software that has very specific (and useful) features rather than a bunch of bloated features that exist only to encourage users to upgrade.
 
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