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1. Rarevision 5dtorgb movie#
2. Rarevision 5dtorgb 1080p#
3. Rarevision 5dtorgb download#
4. Rarevision 5dtorgb mac#

via: RarevisionĥDtoRGB’s algorithm takes your HDSLR footage from the YCbCr color model and interpolates the chroma subsampling in the footage and transcodes it to a RGB color model. For an example of the result of this is, click here.

Rarevision 5dtorgb movie#

You’re stuck with it if you’ve converted your footage with Final Cut Pro, Adobe After Effects, MPEG Streamclip or Canon’s Movie Plugin-E1 for Final Cut Pro - all of them use QuickTime to decompress H.264. And guess what? There’s no way to disable this. To add insult to injury, QuickTime adds noise to its H.264 output (and so does any program that uses QuickTime to decompress H.264) in what looks like an attempt to cover up H.264 compression artifacts. This is probably OK for general use, but unacceptable when trying to maximize the quality of highly compressed H.264 footage for visual effects work, green screen compositing or film outs.

Rarevision 5dtorgb 1080p#

I suspect this due to a performance compromise, in that “well enough” is suitable for most users (remember, QuickTime is designed for real time playback of those 1080p movie trailers as well). Many programs use QuickTime internally to perform YCbCr to RGB conversion which, according to our testing, does only a mediocre job. The big problem is that you have to trust your NLE or compositing app to do a good job of performing this YCbCr to RGB conversion. Furthermore, visual effects compositing programs like After Effects or Nuke work with RGB color (not YCbCr, which is common in HDSLRs), and so a YCbCr to RGB conversion must be performed by either QuickTime or your compositing program before anything useful can be done. Uncompressed formats like DPX are useful for visual effects creation (like pulling mattes from green screen footage), as uncompressed files retain the most image quality. So we know that we are starting with a compressed codec in a limited color space and bit depth. I wont go into the specifics about what this all means but if you want to read more into the alchemy of HD formats check out this blog post by Andy Shipsides of Abel Cine Tech about HD formats. Since most if not all HDSLRs that record video are recorded in a compressed format either H.264 or some form of AVCHD, at an 8bit color depth and also have a heavy amount of chroma subsampling post production with these cameras can be an experience that is less than desirable.

Rarevision 5dtorgb mac#

If you have been on a Mac workflow and transcoding to ProRes either via MPEGStreamClip, Magic Bullet Grinder, a variation of a Compressor droplet, or using the Canon E1 Log & Transfer plugin in Final Cut Pro 7, you know the woes of the wicked Quicktime gamma shift. I believe it was about a year ago when the developers at Rarevision came out with their way of prepping HDSLR media for post, 5DtoRGB.

Rarevision 5dtorgb download#

He was proud to announce that the new version has been made available to download with the problem fixed in this version. Less than 48 hours after I posted this video, Thomas from Rarevision contacted me about the gamma shift problem in the last release. **UPDATE 8-15-11** You must thank the power of social media and its reach to your audience.