![]() ![]() ProRes, which is very fast (even faster than vanilla MJPEG)). ![]() 10-bit 422 ALL-I H.264 is pretty much the same as ProRes (a form of MJPEG in a sense: however H.264 ALL-I likely has more advanced macroblock handling (variable sizes, quality), which can provide higher quality but is more expensive to decode vs. ![]() Thus, I included high-bitrate H.264 420 8-bit as well as H.264 10-bit 422 which preserve color much better and should be visually equivalent to ProRes, especially when coming from H.265 8-bit 420. I tried various workarounds when developing Photon however non of them worked (ProRes mode 1 in Photon has the least color shift vs. For ffmpeg-based transcoders, there's a bug in ffmpeg and ProRes: it appears anything > 1080p gets marked as bt601 (instead of rec709) and the resulting incorrect transform(s) change the color and gamma. Do these various converters deal with color differently? The colors seem to get messed up to my eyes in Gamma DR. If you recorded some videos by the new Panasonic GH5, you may like editing these 4K files in mp4 or mov format.But, if you import Panasonic GH5 4K videos into Davinci Resolve, users always encounter video and audio problems, as the H.264 codec from GH5 is efficient, but simply isnt designed for editing. On just standard profiles, it looks great right out of the cam, but I haven't found a good flat setting yet. The only trade-off of this workflow is that the proxy files themselves will be significantly larger than the original GH5 files, so make sure you have enough space on your drive before you commence transcoding.I'm really liking my NX1, but i don't really feel like I'm maximizing its potential, especially in terms of DR and color. ![]() Another way to achieve the same result is by selecting Transcode in the Ingest settings and choosing the CineForm codec again.Įither way, whenever you import GH5 10-bit footage from the Media Browser, the files will automatically be transcoded and then imported on your timeline. Now, when you import a clip from the Media Browser it will get automatically transcoded and dropped on your timeline. In this particular case, Teller suggests utilizing the 1024×540 GoPro Cineform preset. Panasonic has unveiled ProRes RAW recording for the GH5s, a feature not found on any GH models to date including the freshly unveiled GH5 II.The feature will allow GH5s owners to capture full DCI. You also have to select a preset for the proxies. Meanwhile, after you import your GH5 10-bit files in the Media Browser enable Ingest on the top left-hand side, access the Ingest Settings and choose Create Proxies. Keep in mind, though, even with that feature enabled, Premiere Pro CC will still render out using the original file. Once you select this option, the viewer panel will use the proxies instead of the original file for playback. To do so, you can right click on the viewer panel, then find the View Proxies option, and drag it next to your controls. To make this trick work, you have to enable the proxy on your viewer in Premiere Pro CC first to see the proxy file, instead of the original. The codec that Daniel Teller highly recommends when working on a PC is GoPro CineForm. Yesterday I had a new graphic card installed - GeForce 2080 ti, so my expectations were high when I began a new task: Transcoding 4K files from my GH5 to DNxHR. You can do transcoding directly in the Media Encoder or use any other third-party application such as Cruncher or FootageStudio 4K. You will find the output video works perfectly on DaVinci Resolve 9/10/11/12. After the conversion is finished, just run Davinci Resolve and import the generated DNxHD. Click 'Start' button to start converting Panasonic GH5 4K video to DNxHD for importing to Davinci Resolve. Probably, it won’t allow you to edit the transcoded GH5 10-bit files on your PC flawlessly in each and every situation, but it’s still some sort of solution before Adobe officially releases the imminent, long-awaited update that should fix the issue once and for all.Īll in all, whether you’re using Premiere Pro CC or DaVinci Resolve on your PC, transcoding is still the way to go when dealing with the GH5 10-bit footage. Just customize the parameters to meet your need. Those of you who don’t have access to a Mac computer and FCPX, in particular, should be well aware how daunting and tedious video editing of the GH5 422 10bit footage on a PC could be.įortunately, filmmaker Daniel Teller has an alternative video editing workflow in mind, that could help with this overwhelming task. ![]()
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