Rarevision Rawmagic For 5d Mark Iii
Rarevision are the creators of 5DToRGB, and developer Thomas Worth has today released an early beta version of their converter for 5D Mark III raw files on the Mac. How to work for a workflow to Edit RAW 5D3 DNG Footage then graded with Adobe Camera RAW Pluggins needed Ginger HDR RAW MAGIC.
Canon EOS 5D Mark III transcoding tests tentblogger-vimeo 40227622 Andrew says: During production of “The Incident” we were constantly testing the Canon Mark III in all areas to see what changes there were and how to best utilize what it had to offer. In editorial, you want to make sure the video delivered to you is the best it can be, which is why a lot of different software is put through its paces to ensure the highest quality possible. In the case of transcoding, we tested the main Transcoding software on the market and came to the conclusion that was the best one when it comes to get the image that closest represents the Native H.264 video recorded from the camera. Where it really excelled was in keeping detail in the shadows/highlights and maintaining a fuzz-free image at all times. Of course, nothing is perfect and the does have a few problem areas, all but quite minor. The first revolves around the fact that within the program you can only have one batch at a time. Thankfully, a quick workaround is simply having multiple instance of the program running at the same time, something that if you have a multi-core machine, should not slow down the computer.
The second qualm I found was the length of time it took to transcode each file. On average, transcoding took 2 to 3 times longer than if I had used a comparable program.
Again, it is worth the wait as the final video file you get maintains its original attributes without losing anything. Overall, the software really impressed me with its ability to preserve the image without any loss and even slight boosting of the gamma for a more dynamic range. Disclaimer: these guys are not a planet5D sponsor nor did they give us a free copy – I know it is shocking, but we bought our own! We publish gear news because our users have asked us to let them know when we find things that may help them improve their shooting. If you're a gear maker and would like us to publish your HDSLR related products, please.
Canon 5d Mark Iii Review
I can second this. I shot a music video with the 5DmkII just a few days after its official release (still waiting to be allowed to share it online). I had never used 5DtoRGB before in the past when working with 5DmkII/7D footage. I decided to buy it from the Mac App Store – and glad I did! I compared results converting from the cameras H264 (All-I) files to exactly the same settings with Compressor, MPEGStreamClip and 5DtoRGB. 5DtoRGB was the only one which left the image looking exactly the same (or at least unnoticeably different).
When zoomed in I could see either colour or sharpness differences with Compressor and MPEGStreamclip results and no changes at all with 5DtoRGB. I used ProRes 4444 25fps Rec709 Full range Luminance and left the other settings default. I edited with Proxies in FCP and then replaced the footage after the Grade (done in FCP with FCP tools and various FxFactory tools). In my FCP Sequence settings I had ProRes 4444 selected of course, Gamma Correction to Automatic, Render 10-bit material using high-precision YUV selected, and Super-White selected. When it came to exporting I rendered in FCP, Exported to QuickTime movie (not QT Conversion) using “current settings”. Then dropped this file into Compressor and exported to an 8000kbps H264, with colour set to “preserve source” this file seemed to look pretty much exactly the same as the 4444 ProRes (at least in terms of colour) no shifting. So, I was very happy with the results throughout this workflow, everything stayed looking just as I expected.
Odd that Compressor should preserve colour when going from the ProRes 4444 file to an H264, but shift the colours/gamma when going from the camera’s H264 to ProRes! Don’t get why that is but 5DtoRGB sorted it 😉. Eric Kornblum Not seeing any difference at all when using this vs using Compressor. I’m “only” converting to ProRes 422 HQ (rather than 4444), but I’ve overlaid the same clip done using both apps, and literally can’t find a pixel difference. No visible difference in clipping of highs/lows, no color or brightness shift, no detail difference. Dhp dell driver for mac. Wondering if people are doing something wonky in their Compressor presets that would cause some sort of degradation? Not seeing the advantage of this tool vs Compressor (unless there’s some sort of difference if you’re processing to 4444, which seems overkill since the source files are 420 encoded H264s).
And with compressor you can set up multiple batches and use multiple processors. Andrew Cohen The overall goal of transcoding is to maintain the quality of image you shot your film with and keep a full dynamic color spectrum available for when you do color correction and any effects work. When that file is compressed to h.264 or any other compressed format, some of that information is squished into a much smaller package. A program like 5DtoRGB changes the file into a format that your preferred editing program will accept and also maintains all original information written into the native file taken from the camera. Essentially you are converting to a accepted format and creating a bit more headroom for color correction. With Premiere CS5 and up, when you bring video files into Premiere, it is transcoding your footage in the background so a separate is not needed.
Mike canon fcp7 plugin supports log and transfer to 4:2:2 prores hq, but it appears to only preserve 4:2:0. Going al the way to 4:4:4:4 seems like overkill. Does this tool or any other workflow interpolate back the 4:2:2 from what canon outputs?
Rare Vision Raw Magic For 5d Mark Iii 2
Canon won’t reply to my support questions regarding this. Guess it is not eager to discuss intentionally downgrading quality to promote the more expensive camera, right? Overall I have not seen great video out of the mark iii yet. 60fps 720p 1/125s, kit lens, neutral color mode, etc.
Tripod with stabilization off. Any other hints for maximum quality?
(via No Film School – Dave Kendricken) Suffice it to say some lucky, happy campers here at NFS have recently (finally) gotten their hands on a refurbished Canon 5D Mark III. Substances will surely flow in the not-too-distant future — and by substances I think I mean “footage.” We recently came across an overall-helpful 5D3 RAW DaVinci Resolve workflow tutorial from DP Hunter Hampton Richards, which we have found very helpful in our early experiences. Hunter has devised his own custom LUT to Alexa-ify your 5D CinemaDNG RAW footage, emulating that camera’s Rec.
Hunter also digs Purity Ring, so you’ll definitely want to check this out.