I need to burn some DVDs that can be played by people who will be in Europe and US. If I burn onto a blank DVD-R that I bought in US, will it play in both European and US DVD players? Do I need to get disks that are of a certain Region?

Thanks, Matt

http://sourceforge.net/p/rockymountainsmovieconverter/wiki/Home/

Adobe sees theses files, quick time player sees them. I've installed every codec known to man. Here's some info from Media PLayer Classic(which won't play these files by the way)

Any help? (I don't want to re-render them in another codec)

video: MPEG4 Video (H264) 1920x1080 25fps 119562kbps [V: Apples aliasdatahanterare [eng] (h264 high 4:2:2 intra L4.1, yuv422p10le, 1920x1080, 119562 kb/s)] Audio: QT PCM 48000Hz stereo 1536kbps [A: Apples aliasdatahanterare [eng] (pcm_s16be, 48000 Hz, stereo, s16, 1536 kb/s)]

media info

General Complete name : G:\likeme\Edit RC - v79 scene 14 Avid codec.mov Format : MPEG-4 Format profile : QuickTime Codec ID : qt
File size : 2.03 GiB Duration : 2mn 24s Overall bit rate mode : Variable Overall bit rate : 121 Mbps Encoded date : UTC 2015-04-25 09:07:24 Tagged date : UTC 2015-04-25 09:08:44 Writing library : Apple QuickTime

Video ID : 1 Format : AVin Codec ID : AVin Duration : 2mn 24s Bit rate mode : Variable Bit rate : 120 Mbps Width : 1 920 pixels Height : 1 080 pixels Display aspect ratio : 16:9 Frame rate mode : Constant Frame rate : 25.000 fps Scan type : Progressive Bits/(Pixel*Frame) : 2.306 Stream size : 2.00 GiB (99%) Title : Apples aliasdatahanterare

slimRAW is a fast CinemaDNG compressor. It converts uncompressed CinemaDNG raw video to losslessly compressed CinemaDNG. Lossless compression does not affect image quality - the losslessly compressed raw video output of slimRAW is exactly the same after decompression as the original uncompressed video. slimRAW saves storage space and reduces storage bandwidth requirements for CinemaDNG raw video production. Losslessly compressed CinemaDNG raw video is compatible with various popular video production software.

slimRAW is available for Microsoft Windows and Apple OS X.

It is available now: http://slimraw.com/

I use Handbrake for these purposes, but as I lack deep insight into compression I tend to 'safe' it making for probably too exhuastive compression settings leading to long conversion times.

Would be helpful to hear what other people do - no matter if it's within Handbrake or not. Or perhaps if there are any suggestions for using h265 for the same purpose without insane render times.

Neil

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 commented off hand that if you're desperate enough you can get higher bit depth from merging frames together if you have access to 50, 60p etc. Oh, this also works if you downscale a higher resolution to a lower one within a higher bit depth space as well - so for all you people down scaling footage, if you're able to do that in a 16-bit space and save a high bit depth format then you'll have something to gain. I didn't speak for practicality, only that it can be done.

When I wrote my program to count unique colours in very large resolution 16-bit tiff images, I didn't see other software that'd do that. As the array would require tremendous memory. If you want to know the way I managed to do it I had a simpler way to do it which required processing power over memory, and that was to sort the pixels in an array from smallest colour value to highest essentially, that way you could simply not add +1 to the unique colour count if the same colour appeared more than once in a row.

I had other reasons for doing this, it's part of my experiments with image stacking, but I've done it with various image sources, scans, jpegs from shitty cameras with no raw, raw, jpegs from better cameras, snap shots of two frames in video.

Been told it's "cant be done" many times. Because the information from one from to the next isn't the same - well no, that's exactly why it works, even in the worst case scenario of a tripod locked off shot of still life with nothing moving it works.

But if you're recording 50p, blending every 2 frames together just speeds the footage up to 25p, the average of the two frames still contains the same amount of motion blur/movement as recording in 25p at the same shutter angle, though it may be divided into 2 sections over the 1 frame instead of 1 long section of motion.

Generally that shouldn't be an issue as 180 degree is accepted as general purpose good shutter angle which leaves space between the movement/motion blur anyway, and if you wanted none you could shoot 360 degree.

Now to the screenshot - R, G, B bit values, these represent how much of the scale Red will use on it's own (regardless of what green and blue is attached to - the same goes for Green and Blue etc), a value of 6-bits would mean, the image only has 64 differing red values in total. I made this to identify problems with some images.

Unique Colours is the total number of colours, an 8-bit image has a maximum value of 24-bits here, but that would be very hard to achieve, as it would have to have every combination of colour, hue, intensity, saturation in the one image etc from bland to neon, and the image resolution would need to be 16.7 million pixels or over.

The Unique Colour Factor - A 1920x1080p image has 2,073,600 pixels in the frame, a value of 50% would mean it would have 1,036,800 unique colours in the image, this percentage can be used as a factor of colour quality and separation.

The first example is a single frame grab from some A7s (720p 120fps) video I downloaded off the net (I was going to use my GH2, but I left it at work this afternoon), it's placed into Photoshop and converted to 16-bit and saved as a tiff (partly to rule out any conversion to 16-bit as the contributing rise in bit depth counting, and also because the program I wrote only reads 16-bit tiffs at this time of writing).

The second example, is the first 2 frames in 16-bit mode in photoshop, blended with opacity at 50% for the top layer, flattened and saved as a tif.

The fourth is the same but with 4 frames.

As you can see, the more you stack, the more in between values with higher precision than 8-bit arise, about ~9x the unique colours.

It should only be logical, even if the video or two photos is of on a tripod of a still life, 2 pixel values will have variance in them over the two frames, especially since 8-bit has high quantisation error compared to higher bit depths, variable noise, micron image movement etc, so if you have one that's 241 and 240 for example, the in between value cannot be represented in 8-bits.

Unfortunately I'm working tomorrow, but that means I can get my camera back before Monday, so I probably can shoot some footage with the lowest contrast settings and see if I can induce banding in something and post up an actual video sample.

Thanks,

c

I'm on Windows XP, so looking to convert to DNxHD (codecs already installed). Also, to make matters worse, I'm using a laptop.

Would anyone who has used/uses 5DtoRGB have any idea?

It works great and the files play back in VLC no problem, but when I bring them into Sony Vegas they show up as black screens.

Can anyone tell me what the problem is here?

You can download the file here to test https://www.dropbox.com/s/0qlmbrejroq676o/testcapture.mp4?dl=0

Thanks

http://www.cliptoolz.com/monocleFeatures.html

i;ve tried it in every way to do it but no luck

I tried this guy apps on a mac and it works perfectly

How can we do this on a pc? anyone knows how to do pixel summing? Thanks

The problem is that the footage shot with the GH2 jitters oddly, like an old silent movie filmed at some archaic framerate. It's not catastrophic, but it's noticeable to me. I don't know why this is. Every bit of original footage is 29.97 fps. The scaled down versions I edited are all 29.97 fps.

I can think of only two things. The GH2 was using the Cake patch, which may have been a reason. Or, the GH2 was one of two cameras storing its video as AVHCD, while all the rest used MOV. But the other AVHCD footage looks fine.

Advice?

ADENDUM. Watching the original footage reveals that it appears to be interlaced. Don't recall shooting it in 1080i, but I guess that's what happened.

HQ Formats - 4:2:2

Uncompressed 4:2:2 10bit (working with LW)
ProRes 4:2:2 YUV 10bit 176Mbs HQ
DNxHD 4:2:2 YUV 10bit 176Mbs HQ
MPEG4 Wrapper for Lightworks
MPEG-2 4:2:2 I-Frame w/ M701 tag (for Lightworks only)
MPEG-2 4:2:2 I-Frame (w/out M701 tag) 



Proxy formats

ProRes 4:2:2 YUV 10bit 36Mbs
DNxHD 4:2:2 YUV 10bit 36Mbs 1080P 24
DNxHD 4:2:2 YUV 10bit 60Mbs 720P 24
DNxHD 4:2:2 YUV 10bit 145Mbs 720P 60
DNxHD 4:2:2 YUV 10bit 115Mbs 720P 50

DNxHD and ProRes HQ conversions seem nearly identical, but I think ProRes is a little better quality as a proxy format. DNxHD renders much faster than ProRes. I have a beefy workstation with Matrox hardware and it can handle all of the usable formats pretty easily but I would love to hear about how they work out for others. Please give it a try and let me know about the experience!

Check out http://hdcinematics.com/NewWeb/tools.html for more info. Also available are tools that add custom prefixes and timestamps to files on a directory-wide basis - to help keep clips uniquely named and organized (ExtensionCord). You might want to grab the Matrox and Avid codecs while you're there and download a copy of HD-MINI to audition clips on demand.

With this utility you can select a different flavor of HQ codec from proxy codec and have both conversions done automatically and off-hours. If you use ExtensionCord to add a prefix and (file creation) timestamp to your files before converting, you can edit with the proxies and then offline / link to the HQ clips of exactly the same name at render time.

I hope you can find some use for these ...; )

Cheers!

For project properties I can set it to 3840x1080, but in the render options under custom templates. It won't allow me to use a custom 3840x1080 under the custom project size, for rendering under QuickTime which is the codec I always use. It changes to a random project size of 2048x1152 when I enter the values I want. I have no issues when using a squeezed format, but I'm trying to do a stretched format.

I appreciate anyones help and tips! Thanks

I've just got registered on this forum, after only reading (and learning!) for a while. Thanks for that! I've recently bought the Panasonic GH4 and now I'm about to finish my first videoproduction with it.

I've attached my project properties and render settings, but i'm wondering: what are the best render settings for the best image quality? And what are the best settings for Vimeo/YouTube purposes? In terms of bitrate, etc.

I will capture my footage @ 4K, but I will render it as a .mp4 full HD file.

Hope to hear from you!

I'd like to know any strategies for shortening this process. Would it be best to simply import the sequence into Encore,. and let Encore handle the DVD rendering? Or, should I use Premier Pro to export the video to an MPEG-2 file, and important that as an Encore asset?

(Also, if anyone has an FAQ on how to adjust render quality in Encore, send me the link. I've never been able to figure out anything beyond the basic bitrate setting.)

Thanks.