http://www.5dfilmmaking.com/tut_444.htm

I wrote a little Tool called WinRewrap. It will Batch Process MTS Files to MP4/MOV and adjust References to the MTS accordingly in your XML File. It uses ffmbc. ( http://code.google.com/p/ffmbc/ ) I wrote it primarily for exchange between the new Sony Vegas Pro 12 and DaVinci Resolve. But it can be used for any Batch rewrapping task of MTS.

Of course, this is a very early version, so please let me know any problems that may occur. Note: Audio was converted to AAC in v0.1. Later version keeps the audio stream.

I hope you can use it as well as I can. Ideas, suggestions and Bug Reports, please post here.

regards

FatPig

Homepage: http://www.fatpigtures.com/software/

The Homepage is still in development. Anybody who would like to donate a small amount is appreciated :)

WinRewrap v 0.4

Changelog 0.4:

• Added Cancel Option while ReWrapping
• Added PCM and No Audio option

Changelog 0.3:

• Added Option to Convert Audio to AAC
• Added Check for 0-byte Files (returns error now)

========================================

Requirements:

• ffmbc.exe (Release was tested with version 0.7.1 rc7) put it in the same folder as the WinRewrap exe.

• Windows 7 / Vista Users may experience errors related to writing permissions.

Fix: Turn up your UAC to "always notify". if you turn it to not notifying, some applications are automatically denied access. like winrewrap.

to fix those, copy WinRewrap and ffmbc.exe to your Project Folder. (Tip: WinRewrap starts with its containing Folder under the Browse Dialog, If its your project Folder you can just click OK.)

========================================

Features:

support for rewrapping .MTS Files to .MP4 and .MOV using ffmbc.exe

this is essentially a frontend for ffmbc, designed for batch processing project folders containing multiple MTS Files and optionally an XML.

This enables project export from The New Sony Vegas Pro 12 to DaVinci Resolve, and can also be used for normal batch processing of entire Folders from GH2, etc.

It will automatically replace the MTS extensions to your new Container inside the XML, so you can automatically use it with the rewrapped files.

Known Issues:

Big Endian PCM Audio is not supported in Stream Copy Mode as of Version 0.4 (AF100) WinRewrap can, however convert to little Endian PCM Audio.

Bug reports please in the dedicated thread on personal-view.com

http://personal-view.com/talks/discussion/4775/winrewrap-batch-process-mts-to-mp4mov-with-xml-adjustment

regards

FatPig

many thanks in advance

I shot long (~1h) clip using Panasonic GH2 and Samsung SDXC UHS-1 PRO card (64Gb capacity, 40Mb/s writing speed, ExFAT format) card in 1080i mode and HBR quality (same problem for FSH and FH rec quality) . Three files ~4.2Gb each were created. Then I converted these MTS files into MPG files using AUNSOFT MTS converter and stitched them in Adobe Premier Pro CS4. The output was one mpeg2 file and at each stitch between two files video freezes for ~0.5s while audio seems to be smooth. When I play initial files, Windows Media Player shows same ~0.25s freeze at the beginning of 2nd and 3rd MTS files (not not the first!) that becomes slightly more pronounced for MPG files.

Any help will be highly appreciated.

There isn't a lot of NLE specific information out there on how to properly un-squeeze, and Voldemort's ebook was a starting point for the math that lead to the above solution. There are some assumptions about sharpness and the way one un-stretches that seem a bit quirky or hard to follow, however.

All of my grabs and little vimeo tests and things up this point have been done that way and I am happy with the results. However I'm soon going to be starting the edit on a little feature, and due to my geographic location I have a pretty solid chance of some manner of theatrical projection and I want to start from the ground up with that in mind in the edit.

A couple of days ago I tried what I thought might be a more 'proper' workflow, which was to run GH2 files through 5D2RGB and then through compressor changing the pixel aspect ratio to 1.333. The result was a clip that looked correct, but when I put it in FCPX, I noticed it was slightly taller than my previous efforts. It matched other clips only if I changed their vertical scale to 80 instead of 76. At this height, however, neither match the 'widescreen' button from the plugins, which I take to be a guide for 2.39:1.

I'm wondering which is 'correct' and/or what am I doing wrong, in every case. Obviously, slight variations in squeeze may pass essentially unnoticed, but there must be a 'proper' mathematically correct process for this.

I also at some point of course need to come up to 2k resolution to meet the DCP standard. It's not a huge jump but I'm wondering if I should incorporate that into my initial workflow as well. There were some posts on the BMC forum recently about uprezzing to 4k that were quite illuminating, it seems that the method and amount of color information can play a big role in how well this is accomplished. I've uprezed GH2 frames to 4k in photoshop with pretty good results so honestly I'm not too worried about the jump from 1920 to 2048. Still, I don't know if FCPX is enough, or Compressor might be better, and/or if both the un-squeeze and up-res can be accomplished at once?

Right now I'm looking at:

1.) High quality intra hacked .mts files into 5D2RGB, outputting ProRess 422HQ (unless we think for my later purposes 444 would be better?)

2.) Where to go from here, for un-squeeze and up-res?

Any help would be greatly appreciated. I believe the anamorphic part of the equation should have a more definitive answer than the net seems to provide.

I keep getting glitches in my After Effects output, always in the top left hand corner. Usually it's a square shaped glitch (like in the attached picture), but not always the same size, and sometimes it's an oblong. Usually it contains some kind of offset video, but on a few rare occasions it's been black.

I've tried with the Lagarith and Canopus lossless codecs, both in MP mode. I've tried playback in WMP, PPro and AE.

I've got other things I'm going to try (other codecs, single-threaded renders, disk write speeds), but since the problem is sporadic it's going to take quite a few tests to nail down.

Has anyone got any suggestion on where I should focus my efforts?

Just wanted to share some test I did today about noise, conversion and profiles. I went outside and shoot few takes all with the same camera settings(iso 160, 1/100, F5.6), using Driftwood's amazing new Cluster X S2 - 1GOP Intra Moon T5 settings. Also, I did a few tests with profiles few days ago and what I could find is that Vibrant has the least amount of noise, while Smooth(that I was using all the time) was the worst, for me at least.

So here you can see 3 profiles used, Vibrant, Smooth, Cinema, all to -2, wanted to test them once again and make sure, plus convert the files to ProRes and CineForm and see the difference. Scaled at 400%

As ProRes looked more/less the same as the raw MTS file, I decided to push them even further and scale them to 800% and compare only CineForm and raw MTS files.

I know I'll be always converting files to CineForm before edit from now on, and never again use Smooth profile. Also because a weird amount of blockiness in 25p mode I'll probably just go with 24p when ever I can. Need to test 25p a bit more with this new Moon settings though.

Cheers!

I wonder what format you convert your AVCHD-files too before editing. I would want to get something in 10bit but Cineform is to expensive and my grading software, DaVinci Resolve doesn't support .mov wrapped Avid DNxHD.

What do you suggest?

I've been trying to work out why exporting some noisy low light footage in premiere pro CS6 is giving me 'diagonal rain' problems that aren't present in the original m2ts files from my GH2.

Reading two similar topics (below) the problem seems to be related to GOP length, which hack is being used, and the decoding abilities of certain players. But I shot this footage with the original firmware so this can't apply? Possibly it is a CS6 specific issue?

http://www.personal-view.com/talks/discussion/5120/please-help-problem-with-my-gh2-footage/p1 http://www.personal-view.com/talks/discussion/3804/strange-pulsing-diagonal-pattern-in-gh2-hack-footage/p1

It's not footage I can take again so any advice on how to export this without the noise would be amazing... I'm a beginner but not posted it there as the problem seems to be a complicated one.

I just uploaded the start of my edit to youtube for an example of the problem. Some of my footage was 24p and some was 50 fps 720p but the problem persists in all the export formats I've tried;

I primarily work as an editor, but im not super "tech". For the past few years i've been using a hacked gh1 for my personal stuff, editing on an imac with FCP 7, log and transfer to prores. As far as i have experienced h264 has not been good to edit with? every time i have had footage shot with canons sent to me for work, an assistant editor would trans-code to prores.

so with one of the main selling points of the GH3 being ALL-I, and the talk of "edit ready" h264, im confused.

like everyone else, i want to get the most out of this camera in terms of image quality, so my question is, to transcode or not? if you were to transcode ALL-I footage to prores, would it defeat the purpose of shooting it in the first place? what are the pros and cons of working with H.264?

the primary size and frame rates i'd be using are 1080 24p and 1080 60p for slow motion.

what are you guys doing for post? what are your opinions on codecs and workflow?

thanks! jon

Thank you in advance

I hacked my GH2 a few months ago and things have been pretty lovely so far. A couple weeks ago, however, as I was importing some AVCHD files from my SD card (64GB SanDisk Extreme) into Final Cut Pro X and some of them gave me this error upon import:

"Import Failed: The following clip encountered an error during import and is still referencing media on the camera: Clip Name: 2012-12-01 19:21:00 Event: X Original Name: Clip #X Volume: NO NAME"

After looking around, I noticed that the files that presented this issue had a strange timecode. Instead of displaying a normal start time of "00:00:00:00" they started with "23:27:41:06". Only some files are like this, and as far as I can tell it only happens to clips that used lenses that have been adapted to the camera (non-4/3 Panasonic lenses).. Other than that I don't know what's going on.

Has anyone else had this issue? Is there anything I can do to fix it?

Cheers

Thanks for your help!

P.

Making music video I started with FCPX which I love but crippled in some ways. No clear multi-track editing, not good communication with After Effects (which is my daily main tool), not a lot of plugin available... So I making the switch to Premiere, however I experienced troubles with FCPX original importted medias which are AVCHD file rewrapped to .mov. Don't have the MTS anymore... It's a known bug by Adobe, Premiere doesn't like this 32 bits container for native editing, basically render takes FOREVER (CPU saturated, slooooow scrubbing). No need to mention that I have a monster beast as a computer and everything is working fine with every others player. MTS high bitrate files from other projects works great in Premiere, in case if you're in doubt. I tried a tool called "remux" for mac but couldn't rewrap my clips in something other that MKV. These MKV will plays fine in VLC and Premiere but no sound in the last one.... too bad I was so close !

I searched through adobe forums and they made it clear : MOV and AVCHD in Premiere is not a good team for editing in Premiere, better stick with native MTS wrapper.... that I don't have anymore as I noticed before :'(

If someone knows a good workaround for rewrapping AVCHD's .mov files in something other that Premiere understand.... You will save my day :^)

Cheers mates.

Now I wat to offer my products as download files in .mp4 format.

Now one has to try to find the oprimum bitrate setting, to keep the quality as good as possible for the customer and, on the other hand, keep the files as small as possible, to make the download shorter. I know both contradict each other. The smaller the worse quality etc.

Now what bitrate would you suggest for

SD 4:3 SD 16:9 HD 720 HD1980

Any input would be greatly appreciated.

I transode to 4:2:2 HQ, technicolor style, and rec709

any one with same issue?

i can see the files on MCP or other players. but not on premiere pro CS5.5

Anybody has a hint? All of these setting on camera and mac i was using same before, with all patches up to Sedna, and never had these black files. Thanks for any suggestions. I am really stuck!

I am trying to upload the .mov file i get from 5DtoRGB but system rejects it. It's only 4Mb..what should i do? I thought you might want to have a look at the file

http://www.cinemartin.com/cinec/

Using a Mac, editing in FCPX, converting in 5dRGB

http://crewofone.com/2012/chroma-subsampling-and-transcoding/#comment-7299

Here's a direct link to the video:

1080/50 p footage edited

Output to 1080/25p Mp4 h264 codec 10000 mbps

Upload to YouTube

I have read on the YouTube site that you should keep your footage frame rate and your output the same but I thought that conflicted with other information I read that said you should output to Mp4 for best results ( cant have 50p with Mp4)

I thought I would ask here if there was anyone with similar experience here and any helpful tips. I did look at other topics but this question was not specifically addressed.