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Adobe Premiere Pro CC Now Supports H.265 NX1 Files

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I've loved my NX1 since I got in March. The only complaint was the transcoding and additional space needed. Playback is now smooth at full resolution on my older 12-core Mac Tower and GTX980 card. The Premiere Pro Beta finally optimized h265 playback/export about 4 months ago and I finally got to dump all my ProRes files...about 1TB.

Last week I shot a night time test in a car to test the Cinemorph Anamorphic filter with a Nikon 50mm f1.2 and a 4K Grainzilla real film grain quicktime.

i wanted to try something different so I went full faux anamorphic bokeh and kept the NX1 at ISO 800 as the Cinemorph eats about 1.5 stops of light.

You can watch the Vimeo HD or Youtube 4K versions of DRUNK DRIVE here: http://vashivisuals.com/samsung-nx1-drunk-drive/

Drunk-Drive.png

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I am really pleased at this!

Premiere now cuts through H.265 like butter. I get full res 4K playback smoothly just like with H.264

Only occasional lag when scrubbing crazily through a timeline

Not tried adding effects yet though... might slow down with that, but so far seems to work just like GH4 footage.

Zero quality difference to my converted ProRes.

NX1 just got a whole lot more attractive.

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So many things are looking up for Samsung. I really wonder what they really think about all this.  Best camera of the year in many categories. Lots of praise and positive reviews. Recognition that they can hang with the best of them.  Are the cameras selling more though?  I guess that's the important question.

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Well, now that everyone bashed the NX1 for its codec, it is not for sale anymore...

It was really easy to see that it was only a matter of time to see premiere handeling H.265, but no, everyone turned down samsung offer without understanding its value, or even trying the NX1 (I am not talking about you Andrew, but much more about no brainers playing "I know it all" like its ever been through history of technical evolution). I hope next H.264 DSLRs will be understood for their real value thanks to this codec.

Anyway, lets hope that thanks to this native editing possibility blackmagic, nikon, canon, panasonic, red and more, much more companies, will handle this codec for what it was trully averagely made for, I mean 16 bits 422/444 and 120i/s in full 4k rec 2020 (at least 35% more color space than P3/dci).

It is indeed the real game changing fact about filming. This codec was made for a united new generation color space from shooting to viewing, processed to handle preview, color correction, theater/tv/Blu-ray UHD/internet from hd to 8k and more diffusion at the same time with more powerfull color we have ever used until now in digital cinema. So, no more upscalling down scalling, changing codec through the editing process to the final render for a bit of time... untill better capapbilities come to use...

At least, it could produce the cleanest 1080p high framerate 10bit 444 ever seen in rec2020 in low prices DSLRs !

Raw is still in DCi at max to this day, so try to imagine the use of new rec2020 processors in big cinema cameras. It gives you an idea why the whole cinema industry prices for sony FS,red and others put down their prices in 2015. New generation is on its way. 4k was a good thing, Rec2020 in 16bit will be amazing. 

Try not to destroy camera values by saying anymore that you prefer crappy H.264 possibilities over it.

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Just tried this, since I had original clips and converted clips, I tried both side by side.

It seems that the original H265 is slightly more contrasted than the Prores, which looks more faded. Also it seems to have no banding at all, even after grading, also no magenta/green weird banding lines. Ill post some screenshots later !

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Just tried this, since I had original clips and converted clips, I tried both side by side.

It seems that the original H265 is slightly more contrasted than the Prores, which looks more faded. Also it seems to have no banding at all, even after grading, also no magenta/green weird banding lines. Ill post some screenshots later !

I saw the same thing about contrast, the shadows seems to be losing detail quite a bit (shot with 0-255 setting), and there is not way to adjust that I could find. I posted an example earlier in this thread. Also, did anyone try in SpeedGrade?

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I saw the same thing about contrast, the shadows seems to be losing detail quite a bit (shot with 0-255 setting), and there is not way to adjust that I could find. I posted an example earlier in this thread. Also, did anyone try in SpeedGrade?

I shoot with 16-235, didnt notice any detail lost on the shadows though, but havent tested it much yet...will do some extreme tests and see how they compare.

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So heres my few first shots with H265 native :

fOeYMxV.jpg

ViRyW1L.png

 

ftDtCZ5.jpg

There is aparent banding (on the last image) however, somehow I "feel" the image is different, it seems to have less sharpening artefacts, and less shadow artefacts than the converted prores file. Working with these however, seems like a wonder...fast workflow, and no hassle converting.

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i dont know why my Premiere Pro is not showing me to update, after effects and some others apps did.... :/ - i just finished shooting a music video, ready to start the editing.. anyone having the same issue?

Try opening Creative Cloud (desktop app on Windows, I presume it's on Mac too) and check for updates, that's how I did it anyway.

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yes i did that, like i said all the other apps were updated.. i guess i might have to contact adobe support..

thanks for trying to help.

Screen Shot 2015-12-02 at 10.42.05 PM.png

OK, did you actually check for updates in the app? See below. If the button is grayed out, try logging out and back in.

Update.jpg

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I shoot with 16-235, didnt notice any detail lost on the shadows though, but havent tested it much yet...will do some extreme tests and see how they compare.

Turned out that I had to just lift the level in SpeedGrade (SpeedGrade works now BTW: I had to copy the ImporterMPEG.prm plugin from Premiere Pro, FYI in case other folks on Windows have issues), and now the images are similar when shot with 0-255. Pretty impressed so far, thanks Adobe. I will post back other findings as I run into them.

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Is there a Nikon to Samsung lens adapter? 
Is it working well?

Fotasy Adapter $15 - Cheap and works fine on Non-G lenses, very slight amount of play

fotodiox $30- Better fit than the fotasy, new version doesn't have the issue with lens detected as not mounted.

Best option, and only one for G lenses $300 : Novoflex NX/NIK Lens Adapter

 

Have not given any of the ebay G adapters a try.

 

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