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GH2 Flow Motion v2 - 100 Mbps Fast Action Performance - Series 2
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  • @Brian_Siano As you've seen, Windows is confused by high-bitrate Flow Motion files, but video editors like Premiere Pro have no difficulty playing back the files as intended.

    File spanning on the GH2 is a rather fragile mechanism and works reliably only in specific conditions with Flow Motion v2. If you have a 95MB/sec 64GB SD card, file spanning should work in all video modes except for NTSC HBR 1080p30 mode. With slower SD cards, file spanning will work reliably in FM2's 60Mbps modes: 24L, FH, and H video modes in both PAL and NTSC.

  • @spreeni Yeah, I was checking to see if Flow Motion handled spanning-- or, if not, what's the longest single-take that it could handle.

    I tried the patch again yesterday, after my previous note, with a nice, fresh, fully-charged battery. This time, the camera'd shut down at the points where the files would have to span, i.e., at seven-minute or fourteen-minute intervals. So my own experience so far is that Flow Motion doesn't span reliably.

    There is one last thing I'll try. I'll try re-loading the original v11 firmware, and then loading Flow Motion.

  • That's called "spanning". It means when the file size reaches 4GB a new one is created for continued recording. PPro handels those files correct, don't give much on file properties in windows (and windows media player).

  • Okay, using the proper memory card (Sandisk Extreme Pro) and the Flow Motion patch, I stuck the camera in my window and let it run for a while. It was HBR mode, 30 FPS, ISO 640. I got an odd result that could use some clarification.

    I found three files on the card, which was about half-full. All three MTS files were 3.99 gig in size. When I checked the file properties in Windows, I got: 00000.MTS was 7:27 long, data rate 76mbps 00001.MTS was 7.26 long, data rate 76mbps 00002.MTS was 43:10 long, but the data rate was 12kmbps.

    I imported these into Premiere Pro; all three files run for about 7:30, but PP reports that all three files have a data rate of 9.1 MB/second.

    All three files play back just fine, and they look pretty decent. I'm thinking that, since my battery was drained, maybe it cut out around twenty-two minutes in and caused a minor anomaly in 00002.MTS; Windows reads it incorrectly, but PP reads it fine.

    Thoughts?

  • @Alex_K and @spreeni: Turns out that both of you were right: I was actually using the wrong card; I'd installed the patch using the cheap, slow card that came with the camera, and hadn't swapped in the extreme pro. Apologies to all: will try it properly this weekend.

  • @Swiss_Boy The same for me. I look at and test the others but keep coming back to Flow Motion. As well as the look it's been 100% reliable for me. I shoot HBR mode 25PsF.

  • @spreeni That's the card I've been using: I'd tried Flow Motion with a slower Class 10 card and had problems, so I got the Extreme Pro. I'll try the lower bitrate settings, but I was hoping to really push the camera's capabilities here.

  • I shot a music video last year with Flow Motion 2.02 using available light, mostly handheld. The director of a feature film just hired me to do the BTS on her upcoming movie because she remarked how "cinematic" the look of the video was. So, big kudos to @LPowell for FM, VK and the little camera that we know and love!

  • So I basically have two questions: any idea what I might be doing wrong, and what other high-bit-rate patches should I be trying out?

    Try a 95MB/s Sandisk Exteme Pro SDXC Card or use the lower bitrate modes.

  • videos that i shot with Flow Motion v2.02 24p and 720 for slow mo

    I always try different patches but for some reasons i always come back to this one

  • Addendum to the previous. I just tried using Flow Motion in daylight: I set the camera up in the morning and just let it run, high bit rate mode, 640 ISO. Came back later to find that it had powered down after recording perhaps fifteen seconds.

    So I basically have two questions: any idea what I might be doing wrong, and what other high-bit-rate patches should I be trying out?

  • Running into a small problem with Flow Motion v 2.02. I just installed a Sandisk Extreme Pro card, 36 gig, with gives me about ten minutes of recording time. My first etst was to just run the camera at length, to see if it cut out or spanned. Well, the camera cut out after about seven miniutes. (This may be due to my using ISO 2500.)

    I'm trying a continuous-run at 640 ISO. Much better: it's run for nearly half an hour, so that's good. It still reports a fair amount of storage left: I attribute this to the fact that the scenery's much darker, so it's probably going back to low bitrates. So I'm not certain about the spanning, either: I guess I'll have to try this in sunlight.

    Suggestions, pointers, advice, etc.?

  • @BurnetRhoades: Yeah, colored zebras in highlights. Doesn't happen in 8bpc projects but who wants that.

    I ran into the bug on the current 2.3.x codec, I found a post on CreativeCow complaining how this bug was newly introduced so I figured I'd install an older version. Beware that the AvidLE 2.2.3 installer reports failure on Windows 7 but it installs the codecs nevertheless.

  • @radikalfilm

    If on Windows I suggest exporting to DNxHD (the older 2.2.x codec!), as 2.3.x has a colorspace conversion bug in 32bpc AE projects;

    That must be what happened to me. On the 32bit timeline it looked almost like some kind of "zebra pixels" feature that was showing, in some scenes, the hottest or most deeply saturated parts of the image. Ugh, good to know about the version, thanks! I had to go back and re-transcode the whole lot of clips to ProRes.

  • @SeekingHeartwood:

    Your only solution is 5D2RGB; However, you can play it smart:

    -Cut your material and achieve picture lock on the "raw" .mts; ignore the rain.

    -Locate each .mts (Reveal in Project, then Reveal in Explorer) file and run it through 5D2RGB, with meaningful output names. If on Windows I suggest exporting to DNxHD (the older 2.2.x codec!), as 2.3.x has a colorspace conversion bug in 32bpc AE projects; if you finish directly in Premiere you're probably fine with 2.3.x

    -Replace Footage for each clip with the transcoded files, with Rename Clip ticked.

    You're now good to go, with a reasonable expense of time and disk space. The downside of this workflow is you have to go through each file by hand.

  • so for my flowmotion hack footage i'm only getting the "diagonal rain" artifacts in CS6 on a PC. I no longer have CS5.5. I just played the flowmotion back in potplayer and the diagonal rain was gone. i then played back intravenous 2 footage and got no artifacting in CS6. adobe premiere pro cs6 has something going haywire when playing flowmotion footage . also, for what it's worth, i get no artifacts on the GH3 footage in premiere.

    next i took the flowmotion footage and ran it through 5dtoRGB. it transformed a 4 gb, 12 min clip into a 100 gb clip. after importing it into CS6 and playing it back, no diagonal rain! but i'm going through a dozen interviews that are 2-6 hours long each, and each interview filmed with 3 different cameras! my storage needs would become preposterous if i were to transform all of my interviews with 5dtoRGB.

    lastly, i rendered some of the original flowmotion footage in premiere pro into a youtube format, with the hope that the diagonal rain would be gone after an export and conversion, but unfortunately, it the diagonal rain showed in my final .mp4 footage, no matter what player i used.

    going forward, i'll try to contact adobe, but i doubt they'll help me out with hacked footage. since i'm still filming, i've changed the hack on my 3 Gh2s from flowmotion to intravenous 2. the intravenous looks astoundingly better than flowmotion anyways, i wish i had filmed all of those interviews in intravenous2, and now i don't have to deal with any artifacts or 5dtoRGb. i hope a solution comes up for all the hours of flowmotion footage i've already filmed.

  • This was 90% flowmotion (one interview angle was 5D). I've gotta get back to the caves for something fictional. (Skip a couple of minutes in to see some montage stuff)

  • I would imagine so, but they are a really, really slow moving company. If it enters the queue behind the "make every part of the program work at the bit depth of the project setting" support ticket it may never get resolved internally.

  • Has anyone reported the decoder issues to Abode?

  • @SeekingHeartwood In all the tests I've run so far, the "digital rain" artifacts that appear in Adobe After Effects CS6 did not appear in After Effects CS5.5. If you have access to either CS5.5 or CS6, I'd be interested to hear more details of your results.

  • It's not the setting, it's the decoder. Transcode with 5DtoRGB and you'll be fine.

  • @SeekingHeartwood Be interested to see an example. My personal experience of Flowmotion is that it is the most reliable of hacks. I have had 100% success with it and now don't even give it a second thought. My route to post is via Clipwrap converting to Avid DNX or ProRes depending on edit.

  • ugh, just filmed about 8 interviews for a doc and have diagonal rain artifacts in all the footage, never using flowmotion again

  • Nice Perro - and love Valencia :)