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5DtoRGB for GH2 - advantages vs disadvantages?
  • 376 Replies sorted by
  • Brian202020Brian202020

    @ttancredi

    I believe it depends on your camera settings and what version of 5DtoRGB you use. I use 2.2 and rec709 for both my AF100 and GH2 with 5DtoRGB 1.5.3b, but I always color correct.

  • krxzkrxz

    @Brian202020 Thanks for the breakdown, really helpful post!

  • StrayStray

    Although on the whole 5D2RGB may give you a better starting point (quality wise) I wouldn't go overboard on that claim. In some cases (rare, but not very rare) it does result in highlighting the banding in a shot, and also I've seen it create flicker in the edges of transitions in lighting accross a frame (basically pretty much highlighting another side effect of the 'mosquito noise'. In both thoses cases I've found that working with the original non transcoded footage produces better results.

  • Petee28Petee28

    Ive searched the tread but I cant find a post about the 4gb max file size. I use Avid mc5 for windows. I have to convert all my footage first in-order for it to import. How do you guys get around that? Thanks

  • davidhjlindbergdavidhjlindberg

    Is it impossible to queue the files when converting them in 5DtoRGB? I mean, it will take too much time if you'd have to sit and add all files manually and converting them one by one.

    Edit: Wtf... "The free 5DtoRGB Lite can process one video file at a time. For processing multiple files, check out 5DtoRGB Batch" And it seems like the batch isn't available for Windows...

  • RafaRafa

    @gh2_347 @alcomposer Psf is how 1080 Progressive stuff is recorded on tape or streamed. Nothing to do with how Chroma is sampled or downsampled. Psf is a way of packing not of compressing. Psf is just Progressive material and needs to be read and treated as progressive. I do not understand why 5DtoRGB force the GH2 chroma to be processed as Interlaced, however it seems that is doing the correct thing because the results do not shows chroma artifacts.

    A problem that I find with 5DtoRGB is that CinemaTools is unable to conform the Prores clips. Amazingly recoignize on the "temporal compression" as if they where GOPs based.

    I've wrote to the developers about both issues, but I haven't got much help from them.

  • mrbillmrbill

    @Petee28 - what version of mc5 are you using?

  • Petee28Petee28

    @mrbill 5.0.3

  • JimboJimbo

    I edit AF101 and GH2 footage in FCP X.

    Firstly a warning to those who are letting FCP X import files directly from camera. FCP X ingests the GH2 progressive clips okay, but flags them as interlaced and leaves bad jaggies (aliasing) artifacts on any diagonal lines. These are visible in the interface and on export in 1080p.

    So I tried ClipWrap (version 2.4.7). It re-wraps the MTS files fast, flags them as progressive and removes the artifacts, but I found I lose 2 frames of footage and all clips suffer a -4db hit on the sound. The developers were very responsive over e-mail, but haven't fixed the problem and I have therefore been searching for a reasonably priced alternative.

    I came across this thread yesterday, tried the trial version of 5DtoRGB and can say I'm very happy with the results. No frame loss, no sound loss. Even though FCP X seems to manage my AF101 footage straight from camera okay I'm going to transcode all clips through 5DtoRGB from now on before I bring them into FCP X.

    However, I have 3 questions for those more experienced than me: - I've noticed the colour of the clips is different (flatter) after 5DtoRGB does it's thing. What settings should I use to get the closest match to the original GH2 files? - Secondly, what colour programs are other people using in conjunction with FCP X? (I find the built in colour correction a little clunky) - And if I'm recording on the internal codecs at 24mbps, do I ever need to transcode to anything above ProRes 422 LT? (will I see any picture benefits at the higher rate codecs?)

    Thanks in advance.

  • nomadnomad

    – Switch the gamma. – Use DaVinci Resolve for grading. – Use ProRes 422 for standard codecs and ProRes HQ for hacks. Disk space is cheap these days and you shouldn't compromise the quality, since you want to grade and in most cases you'll add another compression in the end.

  • JimboJimbo

    Great - thanks for the info, Nomad.

  • liquidifyliquidify

    Using free 5dtorgb ... I'm checking a couple versions of proves 444 Gamma 1.8 vs no gamma vs stock mts vs 2.2 gamma.

    To check the files, I imported the 4 versions of the same clip into adobe premier pro on a 1080p template and just looked at them

    Anything wrong with this? Should i be using the avchd 100 intra template? I noticed no difference when i did that.

    Here are the results of the Gamma comparison anyway.

    Between original and both gamma 1.8 and 2.2 and no gamma settings, there is a substantial difference. Looks like the red channel flattens very slightly and the overall image seems to shift a fair bit darker. Very little difference between 1.8 and 2.2, but 1.8 seems to flatten image more. I seem to feel like all three 5dtorgb versions perhaps soften the edges a bit. I can't confirm the softening because I don't know how to pixel peep yet. I also cannot tell a difference between no gamma and 2.2.

    At this stage in my understanding, I can't see myself using 5dtorgb if its going to shift the image darker like this.

  • zcreamzcream

    @dkitsov Regarding the timecode issues, what do you do for the audio? I sync the clock on my audio and video devices at the beginning. There is some drift, but having all video and audio files with timecode from the date of creation is a great benefit when editing and organizing footage.

    These will work for the first edit. Then the audio and video can synced with the clapper. Finally the video timecode can be added to the audio in order to replace the audio TC.

  • ghostlayerghostlayer

    5D to RGB is a great free tool but there is no batch conversion and issues on audio. I am using Neoscene (Cineform) for 2 years now and it's my favorite .mts converter (into ProRes)

  • Brian202020Brian202020

    @ghostlayer

    There is a free batch Python script that you can run or you can pay for the official batch version. I use the free batch script with 5DtoRGB 1.5.3b.

  • ghostlayerghostlayer

    Thanks for sharing Brian, Didn't know that. I still wonder if rec 709 in 5D2RGB actually brings flater footage Or if this is just image look emulation?

  • luminalumina

    Has anyone else recently updated to Version 1.5.9 and having issues with some clips freezing near or at the last frame? I purchased the batch version recently and am new to 5DtoRGB. Had no problems with the last batch of clips I processed before this update and then have had a number from a recent shoot that won't process.

    Was trying to search this online and read similar problems posted mid last year that seemed to say a similar symptom was a bug that had been fixed in later releases.

    (Running 5DtoRGB Batch 1.5.9 64 bit on a Macbook Pro - footage is HBR 25p from GH2 using Quantum X V2 Rocket setting)

    Thanks in advance for any tips and will keep looking to see if there's an obvious solution or mistake i'm making.

  • MinorHDMinorHD

    How do I run the python script? Can't execute it.

    I'm on the latest windows 5dtoRGB. Every time I manually convert a file I get a much larger file than my original file. Like a 70mb mts file turned into a 2gb mov monster one. Is this normal? Trying to free up ram as I'm on a 32bit machine.

    Help appreaciated.. thanks!

  • RarevisionRarevision

    Hey, it's Thomas. I'm looking into the freezing issue now. This should only be a problem with MTS files. Hopefully I'll have a fix in the next day or so.

  • Joshua_CadmiumJoshua_Cadmium

    @whynot, @shian, @Nityananda_SCSMath, @lumina

    I just tried using 5DtoRGB version 1.5.9 Lite on my Macbook Pro to convert a 30min MTS recording into ProRes 422 (HQ). The recording was on stock firmware (1.0) and spanned into two files. The first file converted fine, but the second hung with two frames to go. Researching the problem, I found that you could use ClipWrap to combine the files and put them in a MOV container, but I didn't want to pay for a program that I was going to use just for that purpose and I didn't want there to be another step that could reduce quality.

    @arvidtp on this topic http://www.personal-view.com/talks/discussion/2169/using-ffmbc-ffmpeg-for-broadcast-for-avchd-rewrapping-conversion/p1 said that "you can combine spanned .MTS files before using any software just by using cat in the terminal because they are literally just a stream of data. for example 'cat 00002.MTS 00003.MTS 00004.MTS > OutputFile.MTS' ." I loaded up terminal and it worked perfectly, combining the two files into one. (I don't currently know what a solutions for Window's user's would be, however.) When I used 5DtoRGB, I didn't have a problem at all.

    Looking at the download page for the Lite version, I noticed that this was just updated on March 30th as well: "Fixes problem with flattening files over 4GB."

    I hope this helps you guys.

  • itimjimitimjim

    I think this needs a bump!

    Some say it's useless with Premiere, just use raw MTS instead, some think it grades better. What's everyone's thoughts?

  • Brian202020Brian202020

    @itimjim Transcoding to ProRes and editing with that in Premiere in less strain on the computers processor than editing native .MTS files. For some with powerful computer this may not be as much of an issue. For others that have less powerful computers or people editing many tracks of video at once, transcoding to ProRes is a good thing, and 5DtoRGB is the best way to transcode.

  • shianshian

    @From_Paris @Brian202020

    And for all those, including me, using Final Cut Pro (And since tone doesn't translate well on the web, this is not intended to be angry or snarky, just blunt)

    FCPX - When I first got X, I loved the feature of background transcoding so I could begin editing right away, I thought it was the coolest thing ever, till i went to grade the footage. And I have since stopped using the feature, and gone back to transcoding in 5DtoRGB batch. As most of you are aware I'm used to a Logarithmic workflow (a la 35mm film scans) FCP and FCPX cannot deliver this level of quality and color space by itself.

    I want a pure image to work with, and while this is exceedingly difficult to get with the AVCHD workflow. 5DtoRGB has consistently delivered high quality, flat gamma images that grade very well. None of the FCP versions have even come close.

    If you wanna use the amateur level color correction tools in FCP and FCPX, and will not be doing any external professional level grading, then there is no need for 5DtoRGB. But don't sit there and wonder why your footage can't hang with those using more professional workflows. (Prores, DNxHD, DPX ---> AE or Resolve)

    It's your time, your money, your end product, your decision. I'm just here to help you make a more informed one.

  • itimjimitimjim

    Hey @shian, thanks for chiming in, your experience is appreciated.

    I think the confusing from my part (and others) is that I'm using a full Adobe workflow. Premiere Pro to cut AE to grade and composite. I've read, and seen some tests that indicate there is an increase in quality using 5D2RGB's transcode to ProRes (or the other formats) 'over' editing the raw MTS natively.

    In the Driftwood thread, there's been a side conversation about this, and @onionbrain and a few others have stated that a simple levels and RGB compensation can achieve the same, if not better, and quicker.

    I was of the belief that @brian202020 has stated, and I've also advised others that 5D2RGB is a good thing, even if editing in PP/AE. The recent conversation may dispel that, and I'm looking for a bit of clarity, hence bumping this thread.

  • shianshian

    @itimjim I can't speak to Premiere, yet. I'll probably go full production bundle on the next upgrade, but the tests I did on unhacked mts files vs. 5DtoRGB produced no discernable difference when using ColorGHear in AFX to grade 5DtoRGB 444 ProRes vs. raw mts. They graded the same.

    But with a FCp workflow, 5DtoRGB is the clear winner.

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