![]() ![]() I can see H.265 becoming of use in security cameras where very long recordings at high resolution are a necessity or for event shooters to keep file sizes down in 4K. The Samsung NX1 has been shooting H.265 for a while but only recently did it become editable in Adobe Premiere Pro natively and I still often convert this to ProRes in EditReady to get more fluid playback performance. Right now I am fine with H.264 as H.265 HEVC isn’t the best supported in current software. Come the final camera and the Summer firmware updates for 6K Anamorphic, we’ll wait and see what happens. So to confirm – as it stands right now with the pre-production model, H.265 is only used for the 6K Photo Mode recordings and it is H.264 for all the 4K video modes. That’s a larger anamorphic sensor area than the Sony F55 and puts it in-line with the Sony F65. To go larger than that you’re looking at the Alexa XT or RED Weapon and 65mm. As well as supporting just about every MOV, MXF, MP4, and Quicktime file, EditReady lets you work with all the popular RAW formats: Sony, RED, BRAW, ProRes RAW, ARRI RAW (inc. The GH5 enables recording from the full width (17.3mm) and height of the sensor (13mm) without cropping. Panasonic’s engineers in Japan haven’t confirmed this directly yet though. In the 6K anamorphic mode, anamorphic lenses get access to the full ‘open gate’ format with greatly increased sensor size and resolution. However Matt tells me he assumes the 6K Anamorphic mode uses the H.265 codec as well, because it is essentially the same camera mode in 4:3 aspect ratio. Efficiency is the name of the game here and Panasonic expects this mode to be mainly used in-camera to pull still frames out. Matt says Panasonic are at the moment using H.265 only for the 6K Photo Mode as a way to compress the very high resolution 18MP images at high frame rates to smaller files without compromising quality. This software supports all ProRes versions and can process multiple files simultaneously. Next, drag your ProRes video (s) into the conversion list. The high bitrate of 400Mbit is nessessary in ALL-I to maintain high quality as you are storing every single frame rather than using clever compression to estimate motion and what frames look like in-between “I” frames in a long-GOP codec. The 400Mbit ALL-I mode on the GH5 will I am sure give a very nice motion cadence and will probably look very similar to the 500Mbit ALL-I MJPEG codec on the Canon 1D C and 1D X Mark II, albiet with slightly more manageable file sizes. Run HD Video Converter Factory Pro and enter the Converter module. In the Summer 2017 firmware update, the Panasonic GH5 will get 4K 400Mbit ALL-I (10bit 4:2:2 at 24p, up to 48p – great for slow-mo 24p), using H.264.īy it’s very nature, H.265 is a long-GOP codec which does not store every individual frame as would an ALL-I recording mode. Graphics acceleration of it is supported by various cards and by the latest Adobe Premiere Pro, but H.264 gives you a few more options, namely ALL-I compression which is even easier on the CPU when editing 4K footage. Some have reported that 4K 60fps is H.265 but this was a mistake. I talked to Panasonic’s Matt Frazer to clarify the use of H.265 on the Panasonic GH5.Īlthough the GH5 is still in pre-production (things may change slightly upon release), Matt says all the regular 4K recording modes are H.264. You are trying to add encoding "quality" that is not there in the source file to begin with.Above: Daniel Berehulak, Panasonic GH5 Comment on the forum going from original H264 to other codecs such as ProRes/DNxHR adds zero value. If you simply want to "archive" your footage. conversely higher settings will naturally result in a larger file size but provide you less added artefacts. it's like taking a photocopy of a photocopy. If you really must transcode, avoid lower settings like the plague. It all depends on what you are trying to do. If you are trying to save space, stick with the original H264 and if you are doing something more taxing, then optimized media 1/2 Cineform is the way to go. if you simply want to do basic edits, there is no point in transcoding. I myself have an i7 6700K with a GTX-1080 and do 4K real-time plenty fine. If you need to do some heavy editing, better to invest in more RAM. With that in mind, your i7 6700 is fine even for real-time 4K. ![]() Your GPU will handle most of the encoding/decoding/transcoding. You don't need the latest and greatest CPU/Mobo combo unless you have money to burn. There appears to be some misinformation here. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |