![]() 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. 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. But something to try, it you must have ProRes.The C100’s AVCHD is a little odd – you may see ‘ghost interlace’ around strong colours in PsF video. I have not actually had the need for ProRes, so I don’t know how well this works. ![]() I think this using the ffmpeg engine and ProRes CODECs developed in the open source community for libavcodec (the thing VLC uses to decode everything without the need to install Windows CODECs, and much of the basis for video on Linux). The author wrote this primarily to convert HDSLR video (Canon 5D, thus the name) into “something else”. I have used it occasionally to put AVC into DNxHD directly. It’s a freebie, and claims to produce proper Apple ProRes from an AVC input file (at least… maybe other formats, haven’t tried it). But I recently came across this program: 5DtoRGB ( ). The license it out to some hardware companies. In theory Apple gear can render ProRes, that’s a proprietary Apple format. For most project, though, the alpha layer is simply meaningless. Cineform does, and I think Avid DNxHD as well. I use this all the time for animation projects. That’s because you rarely want an alpha channel with any lossless compression, as you can imagine. Vegas can usually only render with alpha channel (the fourth “4”) to uncompressed or uncompressed-ish formats.
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