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Software for transcoding S1 HEVC to ProRes


HockeyFan12
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Been shooting with the S1's new 6K mode. Very good image. I'd like to transcode to either 6k ProRes or 4K UHD ProRes for an entirely online edit (my computer doesn't do so great with 6k, especially HEVC). 

I notice Adobe and Apple seem to have (I am on a Mac) different ways of interpreting HEVC? Or maybe that has improved? What is the best way to get the best transcoded image without a gamma shift or artifacting? I will be using Creative Suite but considering both Media Encoder and Compressor. Thanks.

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1 hour ago, fuzzynormal said:

My work flow is to edit with proxies and let the ultimate transcoding happen upon completion of the project.

This makes more sense, but old habits die hard.

 

1 hour ago, Parker said:

Edit ready is my go-to transcode software. 

How is the image quality with HEVC? How is the scaling quality? Can you bake in a LUT during transcode?

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2 hours ago, HockeyFan12 said:

How is the image quality with HEVC? How is the scaling quality? Can you bake in a LUT during transcode?

Quality is great, pretty fast too, I used to use it pretty extensively transcoding Samsung NX1 and NX500 h.265 files into Pro Res.

 LUTs can be baked in, it's a solid piece of software with regular updates, they keep it running smooth. 

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7 hours ago, HockeyFan12 said:

Been shooting with the S1's new 6K mode. Very good image. I'd like to transcode to either 6k ProRes or 4K UHD ProRes for an entirely online edit (my computer doesn't do so great with 6k, especially HEVC). 

I notice Adobe and Apple seem to have (I am on a Mac) different ways of interpreting HEVC? Or maybe that has improved? What is the best way to get the best transcoded image without a gamma shift or artifacting? I will be using Creative Suite but considering both Media Encoder and Compressor. Thanks.

As @fuzzynormal suggested, proxies are the best approach.

In terms of habits dying hard, which I understand, it sounds like you're at one of the rare points where you're going to change your habits anyway, so I'd suggest considering what will be the best investment in the long-term.

Sure, proxies are a different way of working, but:

  • If you render to a Digital Intermediate then you're encoding an extra step unnecessarily and taking the hit to the image quality - I'd even question if shooting 6K with an extra conversion lowers the quality to 4K levels....  a test I'd suggest you try before committing to a DI workflow
  • When you archive your project you will either have to delete the DI (meaning you can't load your project and hit play), store both (more than doubling the storage requirements because h265 is much more efficient than Prores for the same quality), or if you delete the originals then you'll both increase the size of the media you stored and be stuck forever with a degradation in quality.  When you work with proxies you can just delete them at the end (if you want to) and the project will still be in-tact, or if you don't delete them they won't take up much space as they'll be much smaller
  • You can edit on virtually any computer you like, as you can make your proxies whatever resolution you want

Yes, there are some operations best done on the full-resolution files (like stabilisation and adjusting image texture such as NR and halation / grain effects etc) but these typically don't have to be done real-time and they can be done at the end of a project during the mastering phase.  The only obstacles I've seen for these is 1) if you are colour grading live with a client in the room, or 2) if your computer is so under-powered that things like the new AI functions just won't work regardless of how long you leave them to process, but these may not apply to your situation.

The only thing worse than having to spend $4K on a new camera is having to spend an additional $4K on a new machine that can handle the extra K's in the image....  oh, and just wait for h.266 - it's coming, and it will make editing h265 seem like editing, well, h.264 in comparison!

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