Transcoding using 5DtoRGB still useful in PPro workflow?

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eco_bach

Well-known member
Can any experienced users of 5DtoRGB share their thoughts on whether transcoding using 5DtoRGB offers any advantages over editing natively in PPro CS6?


Some people claim you can still achieve better quality, others that editing is a bit smoother when you use Prores format
 
Not expereinced in that workflow...but I can not see how transcoding anything can improve quality!

I can understand it might improve the editing experience if ones system prefers the transcode files.
 
DPX is a great Digital Intermediate for Resolve and other CC applications because of its robustness.

You would not want to use it to edit with.
 
Have to agree with shooter, I have done test after test with 5DtoRGB in 2 different NLE (Edius and PP) other than improvement in editing experience not advantage to me in picture result.
Shooter said:
Not expereinced in that workflow...but I can not see how transcoding anything can improve quality!

I can understand it might improve the editing experience if ones system prefers the transcode files.
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Some cameras save information above the clipping point, so anything above that point ends up clipping and you lose the highlight roll-off the camera applied. I have heard 5dtoRGB is able to pull those levels down below the clipping point, effectively bringing back highlight detail and producing much more pleasing results. Apparently FCP7 couldn't recover anything above the clipping point, so 5dtoRGB served an important role in quality as well as performance.

Premiere on the other hand is natively 32bit floating point, so you can bring the levels down in Premiere and get all the highlight detail back. So yeah, the reason to convert to ProRes for Premiere is only for performance not quality.
 
Gabrobot said:
Some cameras save information above the clipping point, so anything above that point ends up clipping and you lose the highlight roll-off the camera applied. I have heard 5dtoRGB is able to pull those levels down below the clipping point, effectively bringing back highlight detail and producing much more pleasing results. Apparently FCP7 couldn't recover anything above the clipping point, so 5dtoRGB served an important role in quality as well as performance.

Premiere on the other hand is natively 32bit floating point, so you can bring the levels down in Premiere and get all the highlight detail back. So yeah, the reason to convert to ProRes for Premiere is only for performance not quality.
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I've worked on 3 different editing systems for 5D codec, and GrassValley Edius is the best I've used. Keeps the white and black levels, and native editing is just fast and realtime. No reason to transocde.
 
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