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Andrew Reid

EditReady now supports the Samsung NX1 / H.265

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Andrew, How do you see that compare with Iffmpeg (quality, speed and file sizes)? 

For me it's a little bit expensive considering that Iffmepg costs 17 dollars and maybe there is not much difference between 'em. 

 

Thank you!!!!

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I'm having trouble transcoding 1080p H265 files from my NX1, is there something

I'm missing. I just bought the damn software. It wont even let me view the video

and when it transcodes it shoots out a green screen with audio only.

​No ProRes codecs installed? Do you have Final Cut Pro X?

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​What are your specs?

​MacBook Pro (Retina, 15-inch, Mid 2014)

2,5 Ghz Intel Core i/

16 Gb DDR3 RAM

Nvidia GeForce GT 750M 2048 MB

 

It also can't convert the ProRes back to H265. Maybe this is not important for all but after editing my videos in ProRes UHD, I convert them to H265 to play it back on my 4K LG TV that supports natively h265.

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I'm really liking my NX1, but i don't really feel like I'm maximizing its potential, especially in terms of DR and color. On just standard profiles, it looks great right out of the cam, but I haven't found a good flat setting yet. The colors seem to get messed up to my eyes in Gamma DR. Do these various converters deal with color differently?

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I'm really liking my NX1, but i don't really feel like I'm maximizing its potential, especially in terms of DR and color. On just standard profiles, it looks great right out of the cam, but I haven't found a good flat setting yet. The colors seem to get messed up to my eyes in Gamma DR. Do these various converters deal with color differently?

​For ffmpeg-based transcoders, there's a bug in ffmpeg and ProRes: it appears anything > 1080p gets marked as bt601 (instead of rec709) and the resulting incorrect transform(s) change the color and gamma. I tried various workarounds when developing Photon however non of them worked (ProRes mode 1 in Photon has the least color shift vs. mode 2). Thus, I included high-bitrate H.264 420 8-bit as well as H.264 10-bit 422 which preserve color much better and should be visually equivalent to ProRes, especially when coming from H.265 8-bit 420. 10-bit 422 ALL-I H.264 is pretty much the same as ProRes (a form of MJPEG in a sense: however H.264 ALL-I likely has more advanced macroblock handling (variable sizes, quality), which can provide higher quality but is more expensive to decode vs. ProRes, which is very fast (even faster than vanilla MJPEG)).

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 @ Caleb Genheimer Try the "calm" picture profile and adjust the colors so that they look right in camera and not so washed out. I tweaked the calm profiles's RGB settings and Hue to get the color back into balance. I wouldn't call it flat but out of the color profiles, I would try tweaking "calm" or "standard" to taste if you do not like Gamma DR, which has its place but is not the end all be all of picture profiles.

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Yeah, top image is iFFmpeg — lower image is EditReady.

I talked with the good people at EditReady (killer customer service, by the way).  They explained that iFFmpeg is keeping the imported 0-255 luminance level in their ProRes files while EditReady converts the footage to 16-235.  So the shadow and highlight detail isn't lost completely, a simple curves adjust can bring it back.  It isn't an ideal solution, but I have found EditReady's ProRes files are much easier on my CPU / GPU.  I found that iFFmpeg ProRes files really bogged down my machine. 

Screen Shot 2015-03-31 at 9.51.19 PM.png

Screen_Shot_2015-03-31_at_10.22.01_PM.th

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