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Please Help: Problem with my GH2 Footage
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  • @driftwood - can you please suggest a specific PC workflow and settings? I've tried using ffmbc and a batch line, as below, however the resulting .MOV video glitches on playback in Premiere Pro CS6, every second or so the video 'stutters' when playing back....seems to play back in VLC though....

    for %%a in ("*.mts") do ffmbc -i "%%a" -vcodec copy -acodec copy "" pause

    I also tried using winrewrap 0.4 to control ffmbc and rewapped to both .MOV and also to .MP4

    resulting MOV stutters every second in Premiere Pro playback

    resulting MP4 shows the digital rain/snow/banding issue...

    All other media files/types appear to play ok within Premiere Pro CS6

  • Is there something wrong with the MTS file structure from a GH2 that is causing these issues? It's weird that rewapping the MTS file causes other issues.

    Question - why would transcoding the MTS media files to DNxHD 'cure' the problem??

    Can anyone help with this?

  • I am using sedna aq1 with cs6 AE and PPro, under exposed, over exposed, run and gun or studio polished, native mts or converted, and never occured that problem. Edit: on mountain lion hackintosh

  • I had this problem on a film back in may...Sedna C...not blaming Sedna... But it ONLY happened to shots when i used Ex i figured it was Ex tele causing it. Since I didnt edit and she insisted on being a hurry...I didnt transcode to DNXHD for her going in. Am I correct to understand that doing so or using 5dtoRGB for Prores fixes these "shadow dancers"?

  • For me if I convert to DNxHD it gets rid of the issue 100%.

    All the clips I've noticed the issue with are not using Ex Tele.

    I've now switched over from Flow Motion to Driftwood's apocalypse now, to see if this helps or resolves the issue (i'm not saying that Flow Motion is the culprit but I want to test if there is any difference with regards to the noise).

    I didn't try Prores but guess this might also be a route to get around the issue (?).

  • @skydragon Are you still having problems with DNxHD stuttering during playback? Or have you found a solution? I am having similiar issues.

  • Ok, I've done a bit more testing and for me, switching over from Flow Motion 2.02 to Driftwood's apocalypse now has cured the problem 100%.

    I tried loading and reloading the two patches and I could repeat the same issue occuring with flow motion. I would get the 'digital rain' appearing on underexposed areas of footage when playing back MTS files in CS6.

    Now I'm using Driftwood's apocalypse now, I don't see the issue occuring in CS6 or other players when I use the MTS files straight from the camera (I no longer need to DNxHD transcode anymore as a work around). Now I've got what appears to be a stable setup on my GH2 giving good quality video I'm going to leave it be (I haven't the time to mess around chasing problems).

    I'm not commenting on the quality of either patch, just what has worked on my camera and in a CS6 workflow.

  • @skydragon Thanks. For the reply about how to do DNXHD by the way. I used that to transcode the files, then a program called "advanced renamer" to get the files names to match up. Then exported my old sequence into an XML doc and found and replaced all the .mts extensions with .mov extensions. Then reimported the xml into premiere and relinked.

    I can't edit with the mov files unfortunately, so I will have to do this process after I complete the edit, and then export it. But at least it's a solution for some project files that I need to work with.

  • I've got the same digital rain/tearing problem with flowmotion 2.02 footage in CS5.

    Looks like I'll be transcoding which is too bad because my laptop plays back the flowmotion .mts files in premiere in real time.

    I'll have to see how it handles DNxHD.

    Time to try some different patches.

  • Rather than DNXHD, try GoPro Cineform. It produces a very acceptable outcome.

  • @kent I have not tried DNXHD and I would like a download link for GoPro Cineform, if possible. As I understand it's freeware.

    My workflow is MAC using Adobe Premiere CS6 Premiere Pro. When I playback my raw footage in Quicktime or VLC, it is flawless (see video below). As soon as I drop it into Adobe Premiere Pro, it's raining artifacts galore (see video below). It is clearly an issue with Adobe CS6 (which we've established). What are some MAC transcoding solutions?

    Raw Footage Filming Conditions =
    - Driftwoods GH3onaGH2 "Cluster 'DREWnet' GOP12/15 (LongGOP) Test 4 of GH3 Matrices"
    - The 50mm f/1.4 FD lens (wide open)
    - ISO 160

    Note = please excuse the shakiness of the clip (intended testing purposes only)

    PASSWORD = test

    RAW Exported From CS6 Premiere

    RAW Footage As Is (MTS)

  • 5DtoRGB transcoding on Mac solves this. There's still a free (non-batch) version available.

  • @BurnetRhoades Okay so one word: AWESOME!

    I hereby confirm that using 5DtoRGB (lite) successfully converted my AVCHD footage into ProRes. I then dropped it into Adobe Premiere CS6 and the results were fantastic (no more rain artifacts). The problem now is that my 600MB RAW footage turned into 3.5GB RAW footage (ouch!). Quality loss is only noticeable if I start pixel-picking so IMO that's a non-issue. Check out the footage below.

    Password = test

    RAW Converted w/ 5DtoRGB Lite

  • @EurekaENT that's great. Yeah, it is a drag how the footage has to balloon up like that. Hopefully Adobe gets their handling of MTS files worked out so that we can have both the great realtime performance as well as proper in-software transcoding.

    What I thought was surprising was this carries over to After Effects rendering. I never render anything straight out of Premiere, I always import the PPro project into AE and finish it there, trusting that renderer to be higher quality, plus all of the various compositing and motion graphics tools. It must be in the Adobe loader for MTS introducing the problems. CS6 does this on the Mac as well as Windows, currently :(

    Until they get that sorted I'll edit with the raw MTS and then do a footage replacement with transcodes to ProRes for final rendering when I'm on my Mac. I haven't worked out yet which uncompressed codec makes the most sense on the Windows side. I wish Apple weren't such punk-ass bitches when it came to certain codecs.

  • DNxHD is about as good for the same data-rate. But AFAIK, you can encode to ProRes with ffmbc:

    It can generate 422 as well:

    (I didn't try yet,)

    @BurnetRhoades: I'm curious how you organize your offline/online workflow, which sounds like a good idea regarding the increase in space.

  • I worked hard in the last days in order to solve the "rain" problem. I discovered after several tests that the problem is due to "deblocking" active on the MainConcept decoder filters. All software that uses the MainConcept technology are affected by this problem, while others do not use are exempt. What happens to the noisy images and shooting at high ISO, I also found on my machine, with filming done in pitch darkness and high ISO.

    For those who use Cineform or other conversion systems using MainConcept there is a solution (on PC,on MAC I have no idea ...). Care must be taken, and launch regedit. in HKEY_CURRENT_USER / Software / must try all folders MainConcept. Enter in all folder concerning the decompression h264 (eg "MainConcept AVC/H.264 Video Decoder) in the "deault folder" and set deblocking value to 2 instead of zero. If there is a folder named HDLink.exe, do the same in that. HDLInk.exe is the program for conversions CineForm, who was using another might find other names. It 'a good thing to open all folders and search for the item Deblocking and set it to 2.

    For those who want to use premiere cs6 with the natives, unfortunately at the moment I have no solution and I stalled. CS6, because of the 64 bits does not use directshow and then the filters registered. To import the files using plugins that are called "ImporterMPEG.prm" and are located in "c: \ program files \ Adobe \ Adobe Premiere Pro CS6 \ Plug-ins". This plugin is based on code MainConcept (I presume 'cause the error is the same), but I have not found a way to configure it at the time. It 'possible that the parameters are set in the code, and then it's really difficult to solve the problem. I can try with a debugger, but it's very difficoult.

    Another way would be to find alternative import filters. Adobe uses third-party filters in a preferential way, if there are, then what could be done. However, the problem is that I have found only and exclusively a product, Rovi TotalCodePlugin, which installs a different importer and in fact takes over to Adobe. But... Rovi has purchased MainConcept, and then we are again: the problem is the same and there is no way to configure the plugin, the only thing you can do is enable and disable it.

    I'm at a dead end, but at least with the awareness of the cause, which is a step forward. I ask for help ...

  • @nomad the workflow is mostly a return to traditional editing style where you always edited with proxy versions of your footage for speed. It's only recently that machines have gotten fast enough that people are skipping this step and just editing with their raw footage directly. It's kinda ironic that, now, the raw footage IS the proxy.

    The fact that we're changing format makes letting the editor/renderer do most of the work for you a little harder. I'll typically just make a sub-dir within STREAM called "mov" and store my ProRes versions in there. Working on shorter subjects it's no hardship to then just do a "replace footage" for each clip in AfterEffects. For something longer than a few minutes I'd investigate a better solution.

    I haven't taken a look at what a PPro project looks like internally yet. I'm keeping my fingers crossed it's not a binary file but if it is I'll see about exporting the project from PPro as an XML instead of relying on their built-in PPro import for AE...I mean, that doesn't even preserve titles or simple audio tweaks so what difference does it make? Editing the XML is then just a matter of search/replace on the string for the path (adding the addition of the "mov" dir to the path) and swapping all ".mts" for ".mov" and, voila, all the transcoded footage comes into AE.

  • Hello to all! @skydragon So you've solved the problem with the rain on premiere cs6 patch Driftwood's apocalypse?

    It 'a patch equally good and stable as Flow 2.0.2?

    I, too, rather than go crazy with a thousand attempts, I prefer to change patches and fix the problem without making conversions. Among other things, the conversions take up very much space on your disks.

    I'm making some tests to put the soul at peace with the Flow 2.0.2, it seems to me to 50Mbit the rain is gone, but I want to test again to be sure.

    Bye :-)

  • Friends, compadres~ this footage.. is it kaput? I've tried bringing it in FCP 6 via L&T, and I've tried rewrapping in ClapWrap (which is the file you see).

    This wedding was doomed from the start. Is there anyway to salvage this?