I couldn't transcode my problem clip with any useful results. My unofficial fix was I sent the main file showing digital rain to a video guy. He tried putting it into mpeg streamclip, but it wouldn't go for whatever reason. In the end, he just opened it in CS5 (or5.5?) and saved it as H.264, sent it back to me, and the rain doesn't show in CS6 now.

The shots that were affected before are still noisy but the digital rain isn't there. You can still see it in the grass in other shots that I didn't send him. @BurnetRhoades please don't burn my crappy titling, I'm just happy to have it done. :)

no rain with intravenous 2

@saltherring I can guarantee that Digital Rain occurs with the GH2.

Anyone find any more patches that do not produce digital rain? I'm bored with transcoding. I will try Valkyrie I guess...........................

Still, only gotta have the transcoded files online for as long as you need them to render. Disk is cheap. It's practically disposable now. The only feasible back up system anymore is just buy another disc and make a copy. I bought a 7200RPM 1TB Barracuda with 64mb buffer for like $79 last week. The first array I ever built that was this size, in 2002, took sixteen drives, cost $16K for the raw disc, another $2500 or so for the four towers holding them, and nearly another $500 for the cables. It sounded like a jet engine in the room and was flaky as shit and you didn't want to breath on it for fear of one of the discs crashing.

My point is, why do the size of the files (once they're not on your shooting media) matter to people? I mean, really? Maybe I'm just getting to old but y'all need some perspective maybe ;)

I'd think it was a long wait by business or technical contexts, given it's Adobe. I've been waiting over ten years for After Effects to support greater than 8bit precision in every nook and cranny. They went through the effort to make it 64bit and didn't fix this problem...like...WTF?

@matt_gh2 Yes, I do all my titling in AE, which has a much better interface for it than Premiere and a lot more flexibility creating non-canned looks (most uploaders don't even seem to change from whatever default font comes up, or turn on antialiasing, or do a stroke in cases where it's needed for clarity, or all kinds of oversights that destroy the finish and presentation quality of their videos).

Linear-light allows you to more easily replicate the look achieved by doing these sorts of things at an optical house where multiple pieces of film are combined, or what you can do on an Oxberry or other type of optical printer with animation capabilities. It's just another way to remove the "stink" of digital if you're willing to put in the effort, since everyone tries to do grain now or jiggle things. The jig is up if they're faking all these various analog aesthetics and then overlay some Chyron or Grass Valley looking titles and motion graphics. That stuff only looks right if you're faking a VHS or 3/4", public access look to all the footage.

@mintcheerios Vegas also used the MainConcept decoder. Any NLE that uses this recent MainConcept decoder version will run into the same issue.

@BurnetRhoades Right now I'm doing it all in Prem Pro CS6. But I have creative cloud, so I have After Effects and Audition and guess I might be using them too for more difficult to grade and mix scenes/shots. When you say "optical" are you referring to titles in AE? Would def be interested in your thoughts on that. Thanks

@saltherring actually, no, I didn't, I didn't appreciate how you were adding ambiguity to the issue that shouldn't really exist anymore. It's clear where to point the finger. Mistakes get made, happens with every tool, hopefully Adobe is able to fix it soon. Until then there's a fix. No reason to over-think something nobody but Adobe is going to be able to fix.

@

They're less accurate in terms of putting the diagonal "rain" where there was none. Similarly, that latest DNxHD codec, when working floating point, shows bad pixels that aren't representative of the footage. Of the non-error parts of the frame I really couldn't say whether they were rendered accurately or just with more subtle error. I just know I no longer trust it.

I will say this, for my short subjects where I went back and did the transcode I didn't really notice any differences on the AE timeline versus when I was reading in the MTS directly except for my Trick or Treat with the Rolands which has people all throughout. Without being a gamma issue, all of that being equal, I noticed that I could see much more subtle gradation and lighting on faces with the 5DtoRGB footage and could also see more gradation in the dusk skies.

Like, there's a scene in my brother's family room near the end where it's really dingy, warm, incandescent light and then this blue light coming from the big ass TV he has hanging on the wall. In the original version, which rendered with "rain", I couldn't see any light hitting their faces. In the 5DtoRGB footage I can see, all throughout the footage, these subtle, bluish highlights and tones on my niece and nephew's faces. And that's running it through the same project file. So, any future versions of CS6 that may supposedly fix the issue, I already have plenty of footage to test with to see just how well they fix it. (plus all of this footage uses virgin firmware)

@saltherring I find your post ridiculous. CS6 in floating-point mode transcodes the incoming MTS to RGB very poorly. Case closed. There may be other software that makes similar errors but that's mostly incidental. The most common variable is CS6.

It's not a patch issue at all. You should maybe do some a dem researches yourself, maybe?

@DouglasHorn just transcode with 5DtoRGB. It's not your patch. It's not any patch. It's CS6. It only shows up in certain types of footage but it's not actually in the footage. The solution is simple. No need to change patches. No need to change shooting style. No need to second guess whether it's actually in the raw footage or not. It isn't.

I saw this "digital rain"/"zebra stripes" stuff for the first time this weekend. I was shooting FM 2.02 and imported into Premiere CS6. It was pretty strong on a few shots. I'm not blaming it on FM--that's just what I was using. However, I would love to know if there are any patches that do not exhibit this behavior in CS6. FM has been a great patch for me with its good data rates, look, and reliability--but I really don't want to transcode my footage before importing it. I thought this was behind me.

Is anyone finding a workflow in CS6 that eliminates the rain without transcoding all footage?

Thanks