Thomas Worth
Forum Replies Created
-
My decision to cut with Premiere wasn’t based on its interoperability with After Effects, if that answers that question. I just know Premiere and am comfortable with it. I did look into using Resolve at one point as an NLE, and although it seemed competent enough to do a rough assembly I was turned off by its lack of decent sound capabilities. That may be different now with all the updates to Resolve. I’d give it a try as it would be great to not have to roundtrip XMLs between Premiere and Resolve.
-
Alex, as Rohit pointed out you’ll need a fast disk/SSD to play back the DNG sequences with Resolve. The new RAWMagic update, 1.3, helps with this a little since it now writes compressed CinemaDNG files (smaller file size = faster playback). On a recent project, however, I didn’t edit DNG files. I just exported ProRes 4444 versions of the RAWMagic DNG sequences from Resolve and edited everything in Premiere (you can also edit DNGs from RAWMagic in Premiere). There were a bunch of VFX shots, so it just made sense to convert everything down to ProRes 4444. Once it was cut, I bought everything back into Resolve via XML export from Premiere and then did the grade with the original DNGs and completed VFX shots (which were output as ProRes 4444 MOVs). Worked great!
-
Hi Mark! You can also try rendering to DPX and see if the blur is still there. If not, then it’s happening during DNxHD encoding. If you want, you can send me a file and I can try it with the Mac version. There have been quite a lot of fixes to the Mac version since I released the Windows version, so this may not even be a problem on a Mac. I’m planning to update the Windows version to bring it in sync with the Mac version, but no ETA right now. 🙁
-
Hi Sascha. You can download the free version, 5DtoRGB Lite, from the Mac App Store. However, as you pointed out the new version (10.5.12) requires Mac OS X 10.7 or later because of the switch to AVFoundation. Since AVFoundation is only available on 10.7 or later, 5DtoRGB wouldn’t be able to access the codecs, etc. on earlier versions of Mac OS X. Leaving out 10.6 users certainly wasn’t something I wanted to do, but the massive improvements made by the switch were too great to pass up.
-
The issue is related to the way audio/video is muxed. It shouldn’t have anything to do with the video codec itself. It doesn’t affect editing performance as FCP7 is overly picky about the way audio/video is interleaved in the MOV file.
Anyway, as Nick pointed out this will be fixed in the next major release of 5DtoRGB Lite/Batch.
-
Hey Ramez, are you able to convert clips from other cameras successfully? You might try to transcode a clip from a 5D or 7D to ensure the problem isn’t related to the GH2 footage. Also, if you want to send me a still frame of what you’re seeing, I’d like to have a look at it.
-
Yeah, 1.5.3b had bugs. It’s been superseded by 1.5.8 Lite, which is now available for free in the Mac App Store. I’ve taken the link to 1.5.3b off the Rarevision site, so only 1.5.8 will be available.
The speed issue is going to be addressed in the next major release, as well as other popular gripes. Trust me, I sympathize and have been working hard to address this. After all, I’m a 5DtoRGB user myself!
I’ll also mention that 5DtoRGB has been optimized for use with Adobe products. I’ve tweaked 5DtoRGB’s color rendering to match Adobe’s as closely as possible for those who need to intercut transcoded and native footage. The two are so close that you can literally switch between either (even mid-shot) and the change is imperceptible. This way, editors can edit native H.264 in Premiere along with footage transcoded with 5DtoRGB, all without having to worry about things matching.
-
Yes, that’s correct. It is baked in, which isn’t appropriate for color grading. I added the CineStyle option to 5DtoRGB because several people requested it, but I actually don’t recommend it. If you’re going to grade later, then just transcode using the camera’s native matrix. In the case of Canon, it’s Rec. 601, full range. Other cameras (like the GH2) typically use Rec. 709, broadcast range.
Applying CineStyle during transcoding is only good for viewing dailies, in my opinion.
-
I’m just speculating here, but perhaps the reason this was done due to image processor limitations. As you probably know, JPEG is 4:2:2 with a 601 color matrix per the JPEG/JFIF spec. We already know the camera writes JPEG files, so it may just apply the same matrix function to video. If so, this would explain the use of the 601 matrix when it’s obviously wrong.
-
5DtoRGB doesn’t clip anything. It decodes every single value, and at full range per the Canon space. ProRes and DNxHD compression does not clip, but most likely “scales” full range values to broadcast range. DPX output doesn’t do any of this, of course.
Canon is using the 601 space, and the way this was determined is as follows:
1. QuickTime clips recorded by the camera are flagged with a “colr” atom of type nclc. This atom tells a program how to deal with the video’s color space. The atom in Canon files specifies a 601 color matrix, so even if this was wrong the opening application would decode 601 anyway. The three values in colr are:
Type: nclc
Primaries: 1 (these are actually 709)
Transfer Function: 1 (again, 709)
Matrix: 6 (601 matrix)Why the primaries and transfer function are 709, but the matrix is 601, is up to Canon to answer. Fortunately this is all accounted for in the QuickTime file, so apps decode it properly.
2. I have tested (and you can too) decoding Canon video with Rec.709, and the colors are most certainly off. Reds tend to look more like orange. If you decode with the 601 matrix, the colors look correct.