Log shooting

[Alistair]

Yes I do think it is worth it. I am surprised that the free version takes them as they are 10 bit but must be there is an exception. It would be good to know the color space and gamma of the transcoded file. Does it look washed out after transcoding like a log file?

 

[Alistair]

Alistair,

So I did some digging, the transcoding utility I used uses ffmpeg and it converts a Canon C-log3 file into an Apple ProRes 4:2:2 10-bit file. I checked in Davinci and indeed this is the file format of all my transcoded C-log3 files that I upload and edit in the free version.

So my question is are these file worth editing in DR or should I just go back to my h.264 4:2:0 files and forget about shooting in log for now? I did a comparison last Fall of colourful male Wood Ducks with regular 8-bit vs log files transcoded as per above and the transcoded log files had noticeably richer colours.

Here's the info I could find about Apple ProRes 4:2:2 HQ files....

Apple ProRes 4:2:2 is a codec that's used in video post-production. It's known for preserving the quality of HD video.
The 10-bit encoding in ProRes 4:2:2 gives better color information.
ProRes 4:2:2 is visually lossless, meaning it retains its quality even after multiple rounds of decoding and reencoding.
ProRes 4:2:2 HQ is a version of ProRes that offers the same high quality as ProRes 4444, but for 4:2:2 image sources.

What do you think, is it worth it to continue?

Rudy

FWIW I just posted a collection of clips using various 8k codecs. The opening sunrise scenes are 8 bit and have not survived the YouTube compression as witnessed by posterization in the sky. The remaining clips are 10bit log and there is one clip in 12 bit raw. Can anyone tell which is the 12 bit raw clip ?! Ensure the video playback quality is set to 4k or 8k if it has been processed by YouTube.

Shore Bird Project

This is a collection of clips from a project I am working on to encourage community engagement in the protection of shorebird species in urban areas in Auckland, NZ.

bcgforums.com

 

[sh1209]

I assume so - but I've never used FCP.

So I did purchase the Phantom pack last night and look forward to trying it today. Everyone I’ve talked to about them, all seem to really like them.

 

[Rudy Pohl]

Yes I do think it is worth it. I am surprised that the free version takes them as they are 10 bit but must be there is an exception. It would be good to know the color space and gamma of the transcoded file. Does it look washed out after transcoding like a log file?

Alistair,

Yes the transcoded ProRes 422 HQ file if very washed out, just like a typical log file.

I found the instructional video that I used 2.5 years ago to build a utility that converts Canon, Sony, Panasonic and other brand log files into ProRes 422 HQ files, which are 10-bit video files supported by Davinci Resolve free version (see below). At the 4:15 minute mark he talks about the ProRes 422 HQ codec.

Info below is taken from Apple's documentation about their ProRes codec...
Apple ProRes 422 HQ
Apple ProRes 422 HQ is a higher-data-rate version of Apple ProRes 422 that preserves visual quality at the same high level as Apple ProRes 4444 but for 4:2:2 image sources. With widespread adoption across the video post-production industry, Apple ProRes 422 HQ offers visually lossless preservation of the highest-quality professional HD video that a single-link HD-SDI signal can carry. This codec supports full-width, 4:2:2 video sources at 10-bit pixel depths, while remaining visually lossless through many generations of decoding and reencoding. The target data rate is approximately 220 Mbps at 1920x1080 and 29.97 fps.

-Rudy

 

[PhilcTx]

Hopefully not to muddy the water too much more - but there are alternatives to Apple ProRes that may be worth considering and likely supported in free DR. - A candidate is DNxHR -

The difference between DNxHR and ProRes codecs

T he Avid DNxHR and Apple Prores codec families are designed to meet the needs of modern, streamlined post-production workflows. These days we capture source material on a variety of cameras- action cams, smart phones, drones and high-resolution cameras, and codecs makes it easy to work with any ...

lowepost.com

I've used ffmpeg utilities in the past for transcoding to ProRes. There are some issues with this on a Windows system for pro use:

"The open-source program FFmpeg offers a reverse-engineered ProRes compatible export format on Windows. As an unauthorized implementation, it should not be relied upon in a professional environment."

A guide to ProRes and ProRes RAW

Though ProRes and ProRes RAW are both high-quality codecs, you have to use them appropriate to reap their workflow benefits.

www.videomaker.com

 

[sh1209]

Hopefully not to muddy the water too much more - but there are alternatives to Apple ProRes that may be worth considering and likely supported in free DR. - A candidate is DNxHR -

The difference between DNxHR and ProRes codecs

T he Avid DNxHR and Apple Prores codec families are designed to meet the needs of modern, streamlined post-production workflows. These days we capture source material on a variety of cameras- action cams, smart phones, drones and high-resolution cameras, and codecs makes it easy to work with any ...

lowepost.com

I've used ffmpeg utilities in the past for transcoding to ProRes. There are some issues with this on a Windows system for pro use:

"The open-source program FFmpeg offers a reverse-engineered ProRes compatible export format on Windows. As an unauthorized implementation, it should not be relied upon in a professional environment."

A guide to ProRes and ProRes RAW

Though ProRes and ProRes RAW are both high-quality codecs, you have to use them appropriate to reap their workflow benefits.

www.videomaker.com

You were not kidding on the Phantom luts. I have tried them on a few clips this morning and I am amazed how well they work and you can literally drop them on the footage and you're done. Thank you for the recommendation.

 

[Alistair]

Alistair,

Yes the transcoded ProRes 422 HQ file if very washed out, just like a typical log file.

I found the instructional video that I used 2.5 years ago to build a utility that converts Canon, Sony, Panasonic and other brand log files into ProRes 422 HQ files, which are 10-bit video files supported by Davinci Resolve free version (see below). At the 4:15 minute mark he talks about the ProRes 422 HQ codec.

Info below is taken from Apple's documentation about their ProRes codec...
Apple ProRes 422 HQ
Apple ProRes 422 HQ is a higher-data-rate version of Apple ProRes 422 that preserves visual quality at the same high level as Apple ProRes 4444 but for 4:2:2 image sources. With widespread adoption across the video post-production industry, Apple ProRes 422 HQ offers visually lossless preservation of the highest-quality professional HD video that a single-link HD-SDI signal can carry. This codec supports full-width, 4:2:2 video sources at 10-bit pixel depths, while remaining visually lossless through many generations of decoding and reencoding. The target data rate is approximately 220 Mbps at 1920x1080 and 29.97 fps.

-Rudy

That is a great hack Rudy. I did not realise the free version processed ProRes 10 bit, although thinking about it more I guess it has to as there probably is not any 8 bit ProRes! It is great too that, by the sounds of it, the transcoding has preserved the log gamma and probably also the Canon Cinema colour space.

But I suspect your ProRes file has not encoded the camera data that DVR relies on to identify footage source and apply the appropriate colour management. However if you use the 3 nodes and the colour management settings I described in a reply in this thread yesterday, it will apply the correct colour management settings and give you the full colour and DR potential of the file.

 

[Rudy Pohl]

That is a great hack Rudy. I did not realise the free version processed ProRes 10 bit, although thinking about it more I guess it has to as there probably is not any 8 bit ProRes! It is great too that, by the sounds of it, the transcoding has preserved the log gamma and probably also the Canon Cinema colour space.

But I suspect your ProRes file has not encoded the camera data that DVR relies on to identify footage source and apply the appropriate colour management. However if you use the 3 nodes and the colour management settings I described in a reply in this thread yesterday, it will apply the correct colour management settings and give you the full colour and DR potential of the file.

Alistair,
I used the 3-node colour management set up you described above and it worked wonderfully! Stunning colours with no saturation applied at all. Thanks for all your time and help, I really appreciate it. Rudy is very happy.
Rudy

 

[sh1209]

Alistair,
I used the 3-node colour management set up you described above and it worked wonderfully! Stunning colours with no saturation applied at all. Thanks for all your time and help, I really appreciate it. Rudy is very happy.
Rudy

I’m really happy now as well since I have finally figured out how to go about doing this correctly. I bought the Phantom LUTs last night for the Sony footage and they do a tremendous job.