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Driftwood Quantum X Settings, Series 4: Cluster v2, Mysteron, Sedna, Orion...etc...
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  • @From_Paris If there is no reason to use it, if you can read/work with the files natively, then don't use 5DtoRGB it gives no benefits.

  • @Kihlian Yes, it's 24H. I just updated this info.

    Thanks all!

  • @shian Yes, there are older comparisons, it's in one of the earlier closed thead segements of this topic.
    Again, it showed Sedna A on top.

  • @Stray

    Perfect! Because I'm very happy with the result FCPX. I think the files are imported very well. Just an example with 66 Cbrandin :

  • @Stray On Mac, I use 5dtorgb or Neoscene to cineform 422. 5dtorgb only for 4444 prores. Otherwise Clipwrap. On NeoScene, there is a lower bitrate on the final file, that leads me to think to a further recompression. But I thought this was the PATCH topic... Shouldn't we stick to the theme?

  • anyone having problems with hbr looking horrible in premiere, try reversing the field dominance under field options, worked for me and looks pretty damn good now

  • @terry2 Yep we probably should. However if you are transcoding GOP1 files into another Intra format and your file is smaller then yep, you're most probably losing something. Its quite simple to test really, just do some brutal processing on the native file and exactly the same processing on the transcoded version and compare the results. Most Intra codecs have I-Frames that are a little bit smaller than driftwoods GOP1s, and they also are mostly for 4:2:2 source too (which mitigates things a fair bit). That is of course if you can read the native files with whatever application that you're using. Transcoding 4:2:0 footage to 4:4:4 with 5DtoRGB I reckon would cause more harm than benefit. Seriously, try some footage that has some banding and see what happens to it, thats the best way to test any sort of space upsampling. Anyway, I guess your application pushes your raw MTS footage into a 4:4:4 or linear space anyway, as most do these days. But if you're hooked into a transcoding workflow and you can use Neoscene, I'd go with the cineform product.

  • Did a quick 5DtoRGB comparison. Thoughts?

    Driftwood Mysterion firmware, 24p, Canon FD 100mm Macro F4 lens. Rendered with Sony Movie Studio 10 HD, Main Concept MPEG4, 50Mbps avg, 135Mbps max. Same settings used on both sets of footage for the "graded" clips.

    After playing with the gamma and gain settings on the native clip I think you could precisely reproduce the "gamma 1.8" effect of running the clip through 5DtoRGB if you set Gain ~0.875 and Gamma ~1.3.

    raw.png
    1920 x 1080 - 2M
    graded.png
    1920 x 1080 - 3M
  • @onionbrain If you can convert 24p to 25p without having the sound and footage speed up then i am a real primitive dude because i don't know how to do this..lol But i don't think you were talking about this when you commented but more about using 5dtorgb. Please send me a link on how to use 25p mts from gh2 in premiere pro to have real 25p without using clipwrap or 5dtorgb i'll apreciate it.

    @YOSS this is exactly what i do right interpret footage as 25p but you will still get your sound speep up by a semi tone.

  • @wigginjs The 5DtoRGB version appears to have lost detail, and its chroma information has got a bit spannered judging by the dark greens in the graded versions. Check the background in these two stills, both exported frames from Premiere. Yep the 5DtoRGB process is going to lift everything, and it is down to Premieres handling of the files when generating the stills, but still it shouldn't be that bad. Also, in Premieres defence, the difference is just as bad in Nuke. Of course it can be dealt with, grading the lift out of it for a start helps a lot, but its not as good a starting point as the raw file. Its definitely not as good as the way Premiere deals with the raw file. This is DNxHD encoding, I can't speak for any difference with Prores.

    RawMTS.png
    1920 x 1080 - 2M
    5DtoRGB.png
    1920 x 1080 - 2M
  • 5dtoRGB testing is all over the web and has its own dedicated thread in this forum, so why is everyone talking about it here? If you don't want to read up on the tests already performed, then do your own independent tests like many of us do and answer your own questions. In the meantime, please keep this thread focused on patches.

    Thanks.

  • Focused on settings...

  • @pinger007

    Thank God for the speech police, like you, who prevent this forum from degenerating into meaningful conversations.

    As a side note -- all of those comments were relative to Driftwood hacks used with "5DtoRGB." Please kindly refer us to the thread that you approve of that is dedicated to "5DtoRBG" used with Driftwood settings. Thank you.

  • relative to Driftwood settings...

  • No need for sarcasm...

    There's a thread for 5DtoRGB in this forum which was heavily discussed before you joined in december. There's also several threads at eyepatch films to name a few. Kholi did an excellent job testing the program several months ago with driftwood patches, and his tests can be found here, as well a on his website campcomet.com.

    My original point was that we should keep this thread focused. It's inefficient to check for the latest patch updates and see that there's 47 new posts, only to find that they are all off topic.

    Just my two cents. If no one agrees, then I'll let it go.

    Thanks.

  • Has anyone ever noticed that all clips have the first 4 (or 5) frames completely silent? I've reset the camera after applying patches so I'm not sure what could be causing this or if this is a known issue.

  • @Onionbrain Well, I won't post it here... but I just did a quick test with Mysteron... and color grading the files directly in Premier led to much more degradation than the 5DtoRB workflow. More macro-blocking in Premire. Brought up more noise as well. 5DtoRGB keeps the nice film-like grain the GH2 produces intact... native Premier grading led to it becoming blocky digital noise again.

    I'll put into the other thread later this weekend after I shoot some stuff tonight...

  • @pinger007 for the latest "setting"... @PiotrJ after applying "settings"

    @All Dont use the words hack or patch, use settings.

  • Vitaliy_Kiselev February 15

    PTool will be available to core team within hours.

    Other important thing is that from now on usage of word "patches" to describe PTool settings will be prohibited. They'll referred as "settings" only.

    http://www.personal-view.com/talks/discussion/50/official-gh2-stalin-hack-development-topic/p2

  • @pinger007 There's a need for sarcasm -- it pleasantly covers up what I'm really thinking.

    @PiotrJ I think this issue was determined to be a transcoding issue for Mac users. If you're not on a Mac -- then I don't know.

    @bwhitz Well, your results are unique. Did you reach this verdict by looking at the preview files in Premiere, or did you render out with proper settings? Did you use the scopes for evaluations? I could go on -- but -- I can sum it all up by saying that your results are unique. As I said in a previous post -- if you like it -- stick with it and enjoy. Transcoding is fun -- it gives you time to do other stuff.

  • @bwhitz, I've had the exact same issue. Threw .mts files directly into Premiere/After Effects, played with curves, saw the degraded image quality, converted with 5DtoRGB, carried on with things. I was seeing blockiness and weird color glitches that I've never gotten from transcoded prores files. CS5.5 for both AE/Premiere.

    Use what you like but some of us DO see a measurable difference.

  • @onionbrain This is on a PC running Adobe Premiere CS 5.5

    Edit: should I transcode to another format for use in Premiere CS 5.5? So far I have only used the video files from the sd card directly.

  • @ProAudio4 Thanks for the testing. I wish I saw more posts like that and look forward to examining it when I am home on a better screen.

    As for the other thread - given the huge number of posts today, it seems like there may be a call for another workflow thread on transcoding in addition to the ones already there. I hope someone starts one soon and that people learn a lot from it.

    When I logged on today, there were over 40 new posts on workflow and I had to read through most of them to get to ProAudio4 and his test. I say that not as a criticism of the discussion, but merely as a statement that it seems to have a life of its own and given that these threads are already so active they close within what feels like a week or less, I think there will be too many posts for people to keep up with if they are both in the same thread. :)

    As far as testing, I am doing some unscientific Mysteron vs Sedna shooting tonight and hope to do some more scientific surveys of the settings suggested earlier on Monday.

    Once again: last call for non-Driftwood settings suggestions for the Monday test.

    Hope everyone else is having a great weekend: I am getting to see friends I have not for 8 years! :)

  • Sounds like there should be a new thread specific to driftwood with transcoding if the threads relating to transcoding aren't sufficient.

  • @thepalalias

    is golgop3 w/sedna C on ur list to test?

    or anything sedna C?

    In this filmmaker's opinion, sedna C is the BOMBBBBBBBBB and wins already..

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