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Driftwood Quantum X Settings, Series 4: Cluster v2, Mysteron, Sedna, Orion...etc...
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  • RRRRRRRR

    @bwhitz if you care to share the .mts from above I can make a cs5.5 export for comparison!

  • bwhitzbwhitz

    @RRRR Yes, I used cs5. It would be cool if they fixed it in 5.5. I look forward to trying it when I upgrade!

    "Guys please let's stick to the plan and ONLY discuss Sedna"

    Well, I did shoot the footage with Senda. And I think the way that different tools interpret the footage is pretty important, since we're working with high-quality settings that people have spent a tremendous amount of time developing. I think we all want the best possible work-flow for these patches...

  • klem007klem007

    Today i shot the party scene from the project i'm busy with. sedna hbr. I loved my footage , ty driftwood

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  • terry2terry2

    Guys please let's stick to the plan and ONLY discuss Sedna, Mysteron on this topic etc and no 5dtorgb and what is this or that.

  • RRRRRRRR

    @bwhitz

    Did you use cs5? I found similar jagged reds in cs5, much improved in cs5.5..

  • shianshian

    @proaudio4 I lived there for 13 years. Worked on my first feature and Directed my first 2 short films there, until John Lowry asked me to come out to Hollyweird and help him restore the color, and pull all the scratches and dirt out of some old film called "Star Wars", or something. I wuz like... "Sure, whatevs, bro."

  • proaudio4proaudio4

    Thanks @bwhitz As you can imagine, we all hate fucking blocky reds... damn 4:2:0 LOL! BTW, great test with differences that are easy to see.

  • proaudio4proaudio4

    @rajamalik Sedna is also all i-frames. All driftwood "high-end" 24H patches are GOP1 (all i-frames)

  • proaudio4proaudio4

    One thing for sure, we all don't know one another to a point of understanding each person's thoughts on their work flow and understanding of camera and post work.

    We certainly should respect each others thoughts. Having said that from what I've seen and heard about, @shian definately has defined his work flow well.

    I loved the line "No, I should definitely move back to Phoenix, and drive a cab for a living, I'm clearly in over my head"

    LOL!
    I live in Phoenix Arizona and have been to the airport many times!
    taxi....taxi....

  • shianshian

    @bwhitz Wow... I guess that's an even better argument for finishing in AE.

  • bwhitzbwhitz

    @shian Yes, this is a final render to Prores 4:2:2HQ.

    And you're right, usually the differences are small... but little neon red needles are like the death chart for destroying red detail in 4:2:0 footage. So this is an extreme example, but also the easiest to test.

    @itimjim "You only need to compare the native footage to transcoded to see the difference."

    Yes, exactly. You don't even need to look at the Premiere stuff. You can see the chroma reconstruction from the native footage to the 5DtoRGB sample.

  • shianshian

    @bhwitz in Premiere? the true test is the final render. Render out the 5DtoRGB clip and the Premiere MTS clip to identical codecs and then see. It may be a display issue in Premiere.

    As I've said, I love 5DtoRGB, and would rather work on footage in ProRes or DNxHD as they are more stable and robust, but I've seen little discernable difference in AE between 5DtoRGB flat gamma transcodes and the raw MTS files. And I've looked pretty hard, at not only the visible differences but on the scopes as well. Both hold up very well to grading in AE. BUT in a FCP pipeline 5DtoRGB is the clear choice.

  • itimjimitimjim

    @bwhitz

    Again, thanks for the test, it shows a lot. I'm sure the doubters will have an answer for you, but it seems obvious to me. You only need to compare the native footage to transcoded to see the difference. The Premiere Pro alleged 4:4:4 destroys it.

  • bwhitzbwhitz

    @itimjim I used pretty much standard workflow for both conversions... everything was set to max in Premier. My system's pretty beefy, so I leave everything on max all the time.

    Also, keep in mind that neon reds are the absolute worst-of-the worst scenario for 8-bit 4:2:0 color space. I've never seen them not look bad in 4:2:0 camera. I've also never seen them reconstructed so well!

    Most footage will not look this bad... the neon red was just a good extreme test I wanted to try.

    If there are suggestions that might lead to better results with Premiere, let me know... I'll try them.

  • jherojhero

    Thanks @thepalalias I actually think I'll role with pictoris c

  • itimjimitimjim

    @bwhitz thanks for the test. I'm one of those that likes what 5d2rgb does, but recently experienced posters have got me thinking.

    Could I just ask you how you did your tests, as there's a bigger difference than I thought existed. It almosts looks like the premiere version was set to half preview.

  • bwhitzbwhitz

    Alright 5DtoRGB doubters... haha ;) Here's a good example of some stuff I just shot with Sedna max detail and converted to Prores422HQ. I'll post this in the other thread also, but I know there were some curious people here that might now know about the official thread yet...

    Native footage:

    image

    5DtoRGB:

    image

    Premire:

    image

    So yea, 5DtoRGB takes the longest... but it's definitely worth it, IMO. This should also confirm that the chroma reconstruction is real... and not just marketing. It really is happening.

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  • thepalaliasthepalalias

    @OnionBrain C'est la vie. :)

  • thepalaliasthepalalias

    @Jhero Driftwood gave no assurances that the patch would be ready in time for testing on Sunday. So I would say tomorrow is (while not at all impossible) rather unlikely.

  • rajamalikrajamalik

    @sid no mysteron is not orion v4b,..

  • jherojhero

    Curious if Cluster v2 is close? Shooting tomorrow so if not I'll just load v1 now

  • shianshian

    @onionbrain Nah, we're cool. Just keep doin' what you're doin', chief. It seems to be working for ya.

  • modernhumanmodernhuman

    @oscillian that is definitely true. But in real world testing, Vibrant's minor cons are far outweighed by the pros. Also, you're not factoring in Smooth's (Standard too) strange hue shifts. Shoot a scene with a lot of green and some natural red. You'll see that green and red shift yellow. Which, in my book, is not good.

    With that, if you're not grading or only doing minor corrections, then shoot with what looks best coming out of the camera.

    Also, gather information, do you own testing, follow the aesthetic that you like and forget the rest :)

  • oscillianoscillian

    @modernhuman Sorry if I keep bringing this up, but I find that Smooth has the best highlight roll-off and doesn't clip RGB unevenly like the other modes. What's your take on Vibrant concerning this aspect?

  • modernhumanmodernhuman

    @onionbrain Sorry I forgot to mention that I was talking about the 5D post grade. Meaning, I'm well aware of what Technicolor does to the image and how to compensate in grading. I was just finding after grading that the GH2 just has way more color info (which I can take away, if desired). But I know that color information is the first thing to go, when pushing a grade (especially an underexposed area). So the GH2 with vibrant helps the post process, with all the extra color info.

    @RRRR thanks for the comparisons. I think your workflow makes sense, and it's more like the Technicolor workflow (with which I've had great results). But I'm starting to see some perks to working with more color info, see above. I believe the small amount of noise control and DR that you may get with Smooth is not enough to choose it over Vibrant. I'm still doing some tests, but I'm certainly impressed with Vibrant.

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