I primarily work as an editor, but im not super "tech". For the past few years i've been using a hacked gh1 for my personal stuff, editing on an imac with FCP 7, log and transfer to prores. As far as i have experienced h264 has not been good to edit with? every time i have had footage shot with canons sent to me for work, an assistant editor would trans-code to prores.

so with one of the main selling points of the GH3 being ALL-I, and the talk of "edit ready" h264, im confused.

like everyone else, i want to get the most out of this camera in terms of image quality, so my question is, to transcode or not? if you were to transcode ALL-I footage to prores, would it defeat the purpose of shooting it in the first place? what are the pros and cons of working with H.264?

the primary size and frame rates i'd be using are 1080 24p and 1080 60p for slow motion.

what are you guys doing for post? what are your opinions on codecs and workflow?

thanks! jon

Thank you in advance

Thanks for your help!

P.

Now I wat to offer my products as download files in .mp4 format.

Now one has to try to find the oprimum bitrate setting, to keep the quality as good as possible for the customer and, on the other hand, keep the files as small as possible, to make the download shorter. I know both contradict each other. The smaller the worse quality etc.

Now what bitrate would you suggest for

SD 4:3 SD 16:9 HD 720 HD1980

Any input would be greatly appreciated.

I transode to 4:2:2 HQ, technicolor style, and rec709

any one with same issue?

i can see the files on MCP or other players. but not on premiere pro CS5.5

Anybody has a hint? All of these setting on camera and mac i was using same before, with all patches up to Sedna, and never had these black files. Thanks for any suggestions. I am really stuck!

I am trying to upload the .mov file i get from 5DtoRGB but system rejects it. It's only 4Mb..what should i do? I thought you might want to have a look at the file

Using a Mac, editing in FCPX, converting in 5dRGB

http://crewofone.com/2012/chroma-subsampling-and-transcoding/#comment-7299

Here's a direct link to the video:

1080/50 p footage edited

Output to 1080/25p Mp4 h264 codec 10000 mbps

Upload to YouTube

I have read on the YouTube site that you should keep your footage frame rate and your output the same but I thought that conflicted with other information I read that said you should output to Mp4 for best results ( cant have 50p with Mp4)

I thought I would ask here if there was anyone with similar experience here and any helpful tips. I did look at other topics but this question was not specifically addressed.

To be honest, I have yet to see a digitally projected image in a gallery setting that I've been pleased with aesthetically, which leads me to the question of this topic . . .

What are my options for transferring my 2.5K ProRes files to film, and how best would I project this in a gallery setting?

I have done some preliminary looking, and transfer services are available. 35mm transfer is more expensive, of course, and I do not know enough about 35mm projectors to know if "home use" projectors even exist. How high of quality is 16mm film? Will it do my GH2 footage justice in terms of resolution? It seems the easier route, as transfers are cheaper and good quality "home use" models are cheap too, even with sound.

I will continue to research and post what I find on this topic for the benefit of others, but I just thought I'd ask some preliminary questions in case there is a P-Ver with more first-hand film experience.

I did a few searches and can see there are numerous topics scattered about, relating to Premiere Pro and Flow motion, but did not want to derail those ones as they are more focused on CS6 or Flowmotion Patch itself.

Been a while since I posted again.. Ive been experimenting with my GH2 a lot lately and have found that straight from the SD card into a Panasonic Plasma HD TV, the footage looks perfect. Then when I edit the footage together in Premiere Pro using import export settings recommended on EOSHD, I have trouble with distortion of image (graininess, low quality etc)

Can anyone suggest how to import the footage or how to set up my projects with which preset, and then suggest a custom export setting/preset that they work with using Premiere Pro CS5.5?

Basically, I use a standard GH2, hacked with Flowmotion V2.2, then a 95mbps SDXC card by Sandisk (64gb) Class 10.

In terms of my in camera settings I try to usually opt for Pal, in either HBR or Manual Movie Mode. Everything looks how I want it to when using my SD card into a friends TV as described before.

Thanks so much for any help I really appreciate all the advice I have received so far. I realise that when I have uploaded my footage to youtube and Vimeo it will be compressed somewhat but at the moment I just want to export the video at the highest possible quality so it ends up looking exactly how it did directly from SD card into TV.

Many Thanks again.

:)

on mac you should install it in :/System/Library/Components

AE and Premiere now are able to export in this high quality codec at half the size of quicktime's Uncompressed 10bit.

VLC can't read UT because it doesn't use system components, but here you can find an update for vlc to register UT and some other video codecs. I don't know how to apply this register to VLC, so if anyone knows, your help is welcomed.

UT is helpful also if your thinking of using the new windmotion conversion tool across PC and mac platforms.

This can be a good time saver, for exporting final projects. I understand with low bitrates it makes sense, but is 2 pass needed at 10mbit+?

Things you need to utilize the "Launch 5DtoRGB Batch Script" feature:

1. Rarevision's 5DtoRGB 1.5.3b. http://rarevision.com/5dtorgb/
2. The Modified 5DtoRGB Batch Script (supplied). The original version was made by Remi SELLO for Noside Production company in France. The modified version also imports .MTS files and not just .MOV files

In order to use the "Launch 5DtoRGB Batch Script" feature of "5DtoRGB copy and prep", "5DtoRGB 1.5.3b" needs to be in the "Applications" folder on your main drive unless you want to modify the 5DtoRGB Batch script. Also you must have the the the "5DtoRGB Batch Script" somewhere on your Mac, preferably on the main drive where Spotlight can easily find it.

What 5DtoRGB copy and prep does:

1. It will make a 3 folder directory structure based on a card number you input.
2. It will copy over both upper and lowercase .MTS and .MOV files to the right folder.
3. It will change lowercase .mov and .mts file extensions to uppercase for 5DtoRGB.
4. It creates a READ ME.txt file and puts it in with the original clips folder.
5. After the files copy over, it hides all other open Applications and opens 2 finder windows.
6. It opens the "Modified 5DtoRGB Batch Script" and is ready to drag over the 2 folders

This was made with my limited Automator experience, so feel free to modify this to your needs or for more efficiency. I believe you can just open with Automator to customize. Enjoy.

Paolo Rudelli's Batch software AFAIK is only useful for dealing with MOV files you have already created using 5DtoRGB. It's no use for batch converting original MTS rushes - or am I missing a trick?

Someone who has a good Windows 5DtoRGB GH2 workflow - please help! (I'm using Flowmotion 100Mb btw) Thanks so much

I've recently bought a Panasonic GH2 because of the great video quality once hacked (Thank you!). I never really compared the quality to the stock firmware because I hacked it right away, and started testing afterwards.

I made a extremely difficult testing set-up:

In a completely darkened room I projected thin white stripes of light on a model, and filmed it with different settings. At first I was a bit disappointed with the results, because allthough the footage looked good, a closer inspection revealed some serious flaws.

When color grading the grain in the blacks appeared very glitchy, almost like a digital rain... it seemed impossible to remove. But I was also trying out different conversion software, and by accident I noticed it made a huge difference..!

Pavtube was one of the first programs I tried, and apparently was responsible for the 'digital rain'. because ClipWrap gave a much smoother grain in the blacks..!

Watch the difference here:

Http://www.johannez.nl/oud/content/dump/testfootage-web.mov (100MB QuickTime movie, half-size but zoomed in 200% for acurate pixel size)

GH2 - hacked with Flow Motion, filmed in 24P Cinema mode @ 3200 iso (if i remeber this correctly.. is there some way to read out the meta-data and find exactly which settings were used for a particular shot?)

unfortunately I found out today about this free plug-in, which eliminates the need for conversion software. Allthough ClipWrap still seems to do a lot better coversion job then Final Cut Pro..! https://eww.pass.panasonic.co.jp/pro-av/support/dload/avccam_impt/agree_e.htm

Hope this helps..!

Do you often use ProRes as a codec in your filmmaking process or when sending files to your client? Read this article made by my co-worker at Stopp, Johan Boije, about how unstable ProRes may be in terms of color and gamma shifting.

This test started out to check color fidelity with Apple ProRes and The Foundry products like Nuke and Hiero. We knew from earlier that results wouldn’t be ideal.Later we expanded the test to other video applications and encoding software to see what that would give us. The outcome was quite disturbing. A format most people believe to be stable in terms of color turns out to be not so “Pro” at all."

http://www.stopp.se/lab/?p=1621

http://www.acvl.org/digital_intermediates/dicompanion/index.html

Premiere Pro's renderer isn't exactly swift: it'd take twenty hours to render 2 hours of HD video into standard def. Is there a program that can render down a low-res version of an AVHCD file fairly quickly?

Is there a way of also exporting sound recorded from the internal mic of the GH2?

Can somebody please post here how to download, configure, compile, and use within the terminal ffmbc to rewrap MTS files and convert to Prores/DNxHD? I am personally interested in Mac OS X but others may need this for windows also.

Thanks so much!!!

@sampledi

I tried Flow Motion 2 and some Driftwood series 6 settings, but I had the same problem with both of them. I did not go into quality tests yet, because I wanted to check workflow options first, with different fps settings in Flow Motion 2, without success, but also found out that spanning did not work with it and I wanted to get that right first. After some tests I found something strange happened. Instead of a range of MTS files spanning, I now get several files with the same content. The longer the clip gets, the more files there are, which makes me believe it creates a new copy of the original file every time it is supposed to span into a new clip due to the 4GB limitation. The files do have subtle differences in size, but are all around 4gigs, but I think it is only the variable bit rate. Here is some stream info example on 3 (of five) duplicate files.

\PRIVATE\AVCHD\BDMV\STREAM\00000.MTS Size = 4.305.033.216 Bytes (22.422.048 Packets) Stream: TS Max Speed = 96.897.200 bps Mode = 1080/24p Average PCR Timing Interval = 0,094 seconds Clip Duration = 0:08:06,02 PCR Duration = 0:08:06,10 Average Total Bitrate = 70.861.957 Average Video Bitrate = 69.022.876 Average Audio Bitrate = 235.013 Average Other Bitrate = 1.604.066 Max GOP Size = 4.662.528 Bytes (37.300.224 bits) Video Frame Count (All-I/P/B) = 11.653 - 971 / 2.914 / 7.767 Video Frame Size (Min/Ave/Max) = 12.288 / 367.482 / 1.031.232 I Frame Size (Min/Ave/Max) = 282.624 / 979.755 / 1.031.232 P Frame Size (Min/Ave/Max) = 87.552 / 463.923 / 504.384 B Frame Size (Min/Ave/Max) = 12.288 / 254.803 / 329.664

\PRIVATE\AVCHD\BDMV\STREAM\00001.MTS Size = 4.302.151.680 Bytes (22.407.040 Packets) Stream: TS Max Speed = 96.897.200 bps Mode = 1080/24p Average PCR Timing Interval = 0,094 seconds Clip Duration = 0:08:11,98 PCR Duration = 0:08:11,93 Average Total Bitrate = 69.956.059 Average Video Bitrate = 68.133.383 Average Audio Bitrate = 235.007 Average Other Bitrate = 1.587.668 Max GOP Size = 4.587.648 Bytes (36.701.184 bits) Video Frame Count (All-I/P/B) = 11.796 - 983 / 2.949 / 7.863 Video Frame Size (Min/Ave/Max) = 234.240 / 362.747 / 1.009.728 I Frame Size (Min/Ave/Max) = 945.216 / 967.698 / 1.009.728 P Frame Size (Min/Ave/Max) = 440.640 / 470.262 / 520.704 B Frame Size (Min/Ave/Max) = 234.240 / 246.841 / 264.192

\PRIVATE\AVCHD\BDMV\STREAM\00002.MTS Size = 4.301.021.184 Bytes (22.401.152 Packets) Stream: TS Max Speed = 96.897.200 bps Mode = 1080/24p Average PCR Timing Interval = 0,094 seconds Clip Duration = 0:08:14,99 PCR Duration = 0:08:14,87 Average Total Bitrate = 69.513.383 Average Video Bitrate = 67.701.911 Average Audio Bitrate = 234.995 Average Other Bitrate = 1.576.476 Max GOP Size = 4.569.792 Bytes (36.558.336 bits) Video Frame Count (All-I/P/B) = 11.868 - 989 / 2.967 / 7.911 Video Frame Size (Min/Ave/Max) = 234.432 / 360.450 / 991.488 I Frame Size (Min/Ave/Max) = 934.656 / 948.918 / 991.488 P Frame Size (Min/Ave/Max) = 457.344 / 471.075 / 510.720 B Frame Size (Min/Ave/Max) = 234.432 / 245.438 / 264.192

Even the clip duration seems vary, but inside premiere they are all the same length. Usually only one of the files retains any sound. I am deeply confused to what is happening, and would appreciate any insight any one might have. I will try some more settings and probably go back to stock too, just to check whether it happens there too.

One thing to note is the card I am using. I read some controversial and mostly unclear posts one which cards work or do not. I have been using a 64GB SanDisk Extreme the SDXC1 U1 Class 10 with 45MB/s. Even if, what some of the posts say, it would be only half as fast, it should still be able to keep up with the bps the tried settings use. The only other card I have to test at the moment is a 32GB Transcend Class 10, but that has only 10MB/s and is used usually for photography only. I am about to order the 64GB Extreme Pro 90MB/s but I still think the one I haver should be fine. I am not using the highest bit rates anyway...

Thanks for any knowledge you can share

I just got the GH2 a week ago and been working with FCPX. I've been adding clips to the timeline with camera import, ok no issues. BUT, when I copied the .MTS files from the memory card (after that formatted it) for other shooting to a folder for later editing, shit hits the fan. I dragged them back to the memory card if it could read them for camera import, but it doesn't.

Since they aren't readable anymore that way

My question is;

What is the best program to convert .MTS to Proress and don't loose any image quality since MPEG streamclip doesn't support MTS files.

I tried 5dtoRGB, but it only converts one file at a time? kinda bananas. I also noticed that when I import the converted 5dtoRBG (24H flow motion 2.02) file to FCPX it somehow jerks a bit, how come?

I am trying to find a way to automate (Win7) taking a folder of .MTS clips, into a timeline, and adding 2-3 second black title to each with the Project name Take number, and possibly the file name.

I don't want to do this by hand.

Any ideas how to automate?

Is there a way perhaps to add the "Title" during a Media Conversion. Then I can just bring into the timeline?

White text on black would be fine, But I may like to make it look more professional.

Particularly when I'm dealing with so many almost identical takes. It would be helpful to roll back and see the file name/number.

Thanks

Maxi