Hello. Headed up to Alaska for a two week shoot. Was going to use the GH2 for inserts and specialty shots (C300 is the A-Cam). Network requires 60i acquisition. Do you have a suggestion for a preferred Cluster X for shooting 1080i? Thanks!

Here is another Shot with Moon at 0 -2 0 -2 on standard, and using Voightlander 17.5mm lens. This time I mixed some footage I had from a couple months ago from a monorail, also using the 17.5mm lens, but it was shot with Cake not Moon.

@emweb

Definitely yes, t4 is the sharpest one. Although i personally prefer the magical filmic look of 'moon' t3 and t5.

I'm using a 64GB Sandisk Extreme class 10 card. Used Moon. Here is what I've found so far.

24H 95Mbps and spanned for 2hrs until the battery died.
24H 100Mbps does not span. It'll record for 8 seconds then freeze. 24H 151Mbps does not span. It'll record for 8 seconds then freeze.

@Driftwood When is the next version of Moon coming out?

@vicharris

Thanks again for your help but I was always under the assumption that we transcoded files to broadcast range instead of full range in 5DtoRGB. Am I wrong in this thinking?

Not necessarily "wrong". It depends what you want to achieve. Since you edit in FCP you certainly prefer to edit with fullswing footage. 5DtoRGB with "Broadcast Range" enabled remaps the GH2's luminance levels from studio swing ("Broadcast" Levels) to fullswing ("Computer" Levels) ... which is want you actually want.

But ... I don't know whether or not 5DtoRGB renders this luminance stretch in 8 bit or in higher bit precision (10 bit or even 16 bit). I assume 5DtoRGB's processing is 8bit - but, again, I am not sure. I for one prefer to preserve the original luminance levels of MTS files when I transcode to MOV files. To remap the luminance levels to fullswing I do apply a curve in the editing software and set my redner settings to 16bit. This way I make sure that the transcoding does not introduce unwanted image degradation... and remapping in 16bit does not introduce image degradation either.

But this is just a general note. As posted above I've transcoded your clip through 5DtoRGB with "Broadcast Range" enabled and the clip did not show obvious banding or posterization. So "Broadcast Range" seems to work just fine (at least in this case).

I transcoded a few files to full (...) It also flattens out the footage which is what I assume you meant by my files looking aver saturated after I sent em through 5D.

Your clip transcoded through 5DtoRGB (with "Broadcast Range") looks less saturated on my machine. This is why I assume your issue is not really related to 5DtoRGB but maybe to your import- or project settings in FCP ... or something else I can't figure out from a distance.

@towi

In your opinion, what the best methods for transcoding avc, that workflow uses to get 10/16 bit, Windows/Osx

@maxmizer

I think we're getting off topic. Since "vicharris" suspected his banding issues are caused by "Moon" I've looked into the file and found there must be something wrong with transcoding or the workflow… but in any case the issue is not related to "Moon". However, to adress your question: as outlined above my advise is to use a tool for transcoding that does not remap the luminance levels and first do the remapping later in the editing software in 16bit mode. I am on a Mac, so I can't comment on Windows tools. But I assume 5DtoRGB with "Full Range" mode enabled should work just fine (especially with DNxHD codecs).

*** UPDATE NEWS*** 2 NEW SETTINGS!

Driftwood Cluster X Series 'Slipstream #2 (Rev A) A combination of Spizz 3 GOP, Nebula 6 GOP and DREWnet 12 GOP technology.

Including;-

• 1080p24H 88Mbps GOP3

• FSH1080i50/HBR25p 58Mbps GOP3

• 720p50 62Mbps GOP6

• FSH1080i60/HBR30p 44Mbps GOP12

• 720p60 52Mbps GOP12

• Settings should span.

Driftwood Cluster X Series 'Slipstream #1 (Rev B)

Including;-

• 72Mbps max IPB frame 1080p24

• 52Mbps max IPB frame FSH/HBR/720p modes

• Span tested

• upto Q12 low quantisation

• iA mode support

All settings SPAN (SH/FSH/H) according to my tests (Ive had spanning on 720p60SH at 5 files with a datarate at 50Mbps which at 12 GOP is the equivalent of nearly 100Mbps low GOP). This is a great setting which appears to pass spanning, iA modes and death charts in all REC modes. Its a mix of 'Nebula' meets 'DREWnet' and is the first in a series of combi settings that attempts to offer decent IQ together with perfect timing and good bitrates to accomodate spanning.

Give it a try and let me know how you get on. See page 1 for details about these new settings & to download Slipstream #1 (Rev B).

http://www.personal-view.com/talks/uploads/FileUpload/a8/3faed58f8c8f03711b2e7526ee3a5c.zip

http://www.personal-view.com/talks/discussion/5806/cluster-x-moon%D0%85r%D1%96zznebuladrewnetslipstream-/p1

The attached graphic below shows three and a bit file spans on 720p60 (running at avg 51Mbps) totalling 40 minutes of hi detail - hi quality footage off a GH2 with 14-140mm lens.

@sedlak Give the new settings a trial. HBR 25p as you correctly note suffers from interlacing and noticably more banding. You may just simply want to try shooting in 24fps and transcode to 25p as there's only one more additional frame will be created - hardly noticeable unless you go looking for it. The quality will be vastly superior than HBR mode will ever be.

Hi there,

Is timelapse MJPEG 2 FPS mode already included in these patches, or it must be done manual?

thank you in advance

ok, how do i sacrifice it :) ?

@driftwood Did I get this correct - Slipstream #1 (Rev B) uses a higher bitrate in FSH 1080i50 than Slipstream #2 (Rev A) while using 12 GOPs? Wouldn't it make more sense to use the higher bitrates for the 3-GOP-settings?

@driftwood Slipstream #1(rev. b) and Slipstream #2 (rev. a) have the same values: Video Bitrate 24H=72000000 Video Bitrate 24L=50000000 Video Bitrate FSH/SH=68000000 Video Bitrate FH/H=45000000

It's right?