Two things can really help minimize these kinds of artifacts: high-bitrate encoding and 32-bit decoding. This evil combination of digitization artifacts can often produce visibly jagged edges in the RGB pixel patterns produced by uprezzing the chroma channels to match the resolution of the luma channel. What can make it even worse are rectangular edge discrepancies between adjacent macroblocks in AVCHD frames. While some editors use interlaced motion detection algorithms to identify psF format, this technique is not foolproof and can misidentify ambiguous footage.īeyond that, the technical challenge of decoding chroma is that in 4:2:0 encoding it's subsampled at half the horizontal and vertical resolution of luma. As a result, when importing psF footage, you should manually confirm that the footage is interpreted as progressive. metadata) of distinguishing itself from interlaced 50i or 60i footage. #5dtorgb gh2 pro#The culprit in those cases is not Premiere Pro or After Effects, it's the braindead psF format that lacks any explicit means (i.e. In particular, I suggest you use an entire truck of salt when reading statements made by the guy behind The examples of Adobe interlace artifacts that I've seen posted appear to be due to incorrectly interpreted 25psF or 30psF progressive footage that was decoded as interlaced. If you take with a grain of salt all you read on the web (including this very same post) you will be spared from going insane. I understand that this subject matter might sound very confusing if you spend too much time researching and don't try enough for yourself. As for replicating the contrast, I've not gone that far as coming up with values, as the Chroma issue was already enough of a show stopper for me, but from what I remember from looking at the waveform, I don't think you would need more than one instance of the CC3Way to do that. And if you really care about replicating the 5DtoRGB look with the Nattress G Chroma Sharpen Progressive, if I remember correctly, you should set the Sharpen Amount to 25 and the Anti-Alias Amount to 50. Also, normally you should trust the waveform and the vectorscope more than your eyes, especially if you don't have a calibrate broadcast monitor at hand. if you don't use Color, but just FCP7, you can still get very good results by starting with one or more instances of the classic Color Corrector 3-way and also use one or more instances of one of the Garbage Matte filters to apply CC filters to only parts of the frame, key-framing them for values and movement as needed. I've read every comment on this page and as with many things, clear and simple answers are as nomad says, try to work with Prores, possibly HQ. #5dtorgb gh2 how to#I'd rather not use 5DtoRGB if I can understand how to get the most dynamic range in my final product (if in fact it is just a color space or gamma issue that can be fixed as easily in color correction as in import). I don't see input/output adjustments in any of my filters in FCP7 to try out what he's saying. It's just that after reading articles like this: seems like it would be faster if it's true that 5DtoRGB isn't very quick with the transcoding. Not being a colorist or fully understanding all of the color engineering terms being thrown around, I wonder if it's better to use 5DtoRGB or just throw a couple filters onto my L&T transcoded footage in FCP7 to get me the same look. I'm curious what filters you generally use in FCP7 if you just import with Log & Transfer to give you a similar look as 5dtoRGB? How can I tell if I'm in a 709 space or 601? I feel like my image is quite contrasty using L&T.
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