Red 'bloom' on GH-1 footage.

[j1clark@ucsd.edu]

For want of a better term, the following image shows the red typerwriter as having far more 'pixelizaiton' than the other elements in the image that are not red.

The ingest process was:

Final Cut Express log & transfer to Apple Intermediate Codec.
AES to transcode to 24p
CS4 Premiere using AVC Intra 100 setup for 24p.

Is this a result of not correctly transcoding the color back to 4:2:0, or is this just a result of the original sample rate on 'red'? Given that the typewriter is a pretty saturated
red.

You can really tell how much 'bloom' there is on the red, by comparing the "Corona" decal, with the top row of the keys, as well as the glint on the type bars in the basket.

 

[AdrianF]

That doesn't look right. I don't know what is causing this, but your workflow does seem quite long winded to me. Ingesting as AIC isn't the best approach if you are after the very best quality. I thought that CS4 was able to edit AVCHD natively, if so why not try first off working with the original file in Premiere and see where you get.

 

[Svart]

Red is known to alias more than the other colors on the GH1 but that doesn't look right at all.

 

[j1clark@ucsd.edu]

That doesn't look right. I don't know what is causing this, but your workflow does seem quite long winded to me. Ingesting as AIC isn't the best approach if you are after the very best quality. I thought that CS4 was able to edit AVCHD natively, if so why not try first off working with the original file in Premiere and see where you get.

I've avoided using Premiere directly on the AVCHD files, as even with the recent updates, playback on my hardware is crappy.

I use Final Cut Express which does not ahve the Pro Res codec option. I recall some mention that Premiere had problems with the reverse telecine process anyway.

I tried Neoscene a while back, but it seemed broken. Perhaps I'll try it again.

 

[j1clark@ucsd.edu]

Red is known to alias more than the other colors on the GH1 but that doesn't look right at all.

Now that you mention it, I do recall something about problems with the codec as well. If you have a reference to a thread, perhaps I can look at it.

 

[Park Edwards]

yeah red and pinks suck. search for hunter richard. when he first got the camera and did tests, you could see the pink breaking up.

 

[thisisapocalypse]

The Hot Rod camera guys suggest using something like a Tiffen T1 IR Cut filter and underexposing a bit because of the way the GH1 handles the red channel - I'm actually waiting for my filter (in the mail right now) and then I can test but I've found the GH1's red channel to be particularly difficult to work around in testing - I'm hoping the T1 helps (it should).

 

[Ben_B]

Red gets screwed in lots of video compression schemes, especially the GH1. It sucks, but it's true. Watch a web video sometime and pause it on something with a lot of red in it. The best example I can think of is during a concert when there are red light sources in frame vs another color....check out the macroblocked stairstepping.

If you're at UCSD as your name seems to indicate I'd recommend going into one of the computer labs there (you must have a final cut lab somewhere) and taking the ProRes codec off the machine and adding it to your codecs folder on your mac. That should unlock the ability to edit in ProRes, though it might not allow you to log and transfer to it...you can take your footage to a lab or something. I do some editing at the labs here at UCSC because the hardware is pretty damn good.