It’s too slick, and therefore perversely needs some film grain on top. My early testing shows that you can under- and over-do it with unpleasant results, and that the finished result – assuming that you’re not correcting a fault, but preparing for a grade – doesn’t compress quite as well. Denoising is even more processor intensive – taking a long time to render. It’s early days in my tests, but I’ve noticed that it masks the ‘interlaced chroma’ stripe pattern is effectively hidden: I’ve also been investigating the use of a ‘denoiser’. You may wish to follow my pattern for the majority of my non-chromakey, fast turnaround work, where I’ll shoot internally, and only when I encounter difficult situations, opt to transcode those files via 5DtoRGB. You will have to judge whether the benefits of shooting internally with the significant transcode time outweigh the cost of an external recorder and the inconvenience of using it. Compare that with 83 seconds for ClipWrap to transcode, and only 6 seconds to rewrap (similar to Final Cut Pro’s import). Processing a 37 second clip took 159 seconds (2 mins 39 seconds) on my i7 2.3 GHz MacBook Pro. So why should you NOT process all your C100 rushes through 5DtoRGB? The only key change is a switch from BT.601 to BT.709 (the former is for US Standard Definition, the latter is for all HD material, a new standard is available for 4K). Here are the settings I use – I’ll do a separate guide to 5DtoRGB in a separate post. The results are a very acceptable midway point between the blocky (stripey) AVCHD and the better colour resolution of the ProResHQ. RareVision make 5DtoRGB – an application that post-processes footage recorded internally in the 4:2:0 based H.264 and AVCHD codecs, and goes one further step by ‘smoothing’ (not just blurring) the chroma to soften the blockiness. In doing so, it fixes the C100’s AVCHD chroma interlace problem: But let’s say you don’t have the option to use an external recorder – can the internal recordings be fixed?
Adding an external recorder such as the Atomos Ninja matches the C300’s quality. This is the kind of image one might expect from the Canon C300 which records 4:2:2 in-camera at 50 Mbits per second. The colour information is far better, but note the extra noise in the image (the C100 includes noise reduction for its AVCHD recordings to help the efficiency of its encoding). To isolate the problem to the recording format rather than the camera, I also shot this scene on an external recorder using the Canon’s 4:2:2 HDMI output and in recorded in ProRes 422HQ. So the only benefit would be to older computers that don’t like handling AVCHD in its natural state. In version 2.6.7, I’ve yet to experience the problems I experienced in earlier versions, but the actual results seem identical to FCPX:įor the sake of completeness, I took the footage through ClipWrap’s transcode process – still no change: MTS files, so I rewrapped them in ClipWrap from Divergent Media. I wondered if it was the way FCPX imported the.
#Clipwrap alternative pro#
Some have pointed the finger of blame at edit software, specifically Final Cut Pro X. Reds are most affected, but these issues crop up in areas of strong chrominance including fabrics, graphics and stage/theatrical lighting. These are wasting bitrate and robbing the image of crispness and detail. Like ‘true’ interlacing artefacts, these stripey areas add extra ‘junk information’ which must be encoded and compressed when delivering video in web ready formats. These artefacts illustrate that there’s some interlace going on even though the image is progressive.
There are stripes at the edge of the red peppers, and their length denotes interframe movement. Please click the images to view them at the correct size: This is a 200% frame of some strongly coloured (but natural) objects, note the peculiar pattern along the diagonals – not quite stair-stepped as you might imagine. I’ve never seen this in Panasonic or Sony implementations of AVCHD. Note that this problem is completely separate from the ‘Malign PsF’ problem discussed in another post, but as the C100 is the only camera that generates this particular problem in its internal recordings, I suspect that this is where the issue lies. However, stronger colours found in scenes common to event videographers, and when ‘amplifying’ colours during grading, all draw attention to this artifact. Normally, our eyes aren’t so bothered about this, and most of the time nobody’s going to notice. AVCHD is 4:2:0 – the resolution of the colour is a quarter of the resolution of the base image. The C100’s AVCHD is a little odd – you may see ‘ghost interlace’ around strong colours in PsF video.
0 kommentar(er)
