What I found was surprising: compared to Robin's stellar results in Final Cut, I can see very little difference whatsoever in Premiere Pro. But once I saw Robin's dramatic results I decided to quickly hop outside and shoot a brief clip of some horizontal lines to see if 5DtoRGB offered any real moiré correction. I was planning on putting this to work next week, as we're shooting a bit of a teaser in preparation for our participation in Independent Film Week's Project Forum. Indeed, the workflow I had in mind before I actually had a chance to use 5DtoRGB was to edit the camera originals natively in Premiere Pro, and then, once picture is locked, go in with 5DtoRGB and only transcode the files that are actually being used in the edit. I have no idea but what I do know is that I will certainly be putting the time in to test a clip from my future projects through 5DtoRGB at 4444 to see whether it improves them for final mastering (I suspect it probably will). So what conclusions can we draw from this?. I fully expected the 5DtoRGB to wipe the floor with everything else. Everything looks pretty much the same as everything else although I’d have to say there’s a marginal preference for the 5DtoRGB result. To be honest with you, I don’t really know what I’m looking at here.
#5DTORGB BATCH WINDOWS FULL#
I'd recommend heading over to read his full post, but when converting to ProRes 422 (a lossy codec that yields smaller files than the lossless 4444), Robin reacts: It looks so much better than the native file that I found myself thinking, "they're going to sell a boatload of copies of 5DtoRGB." But then Robin's second test came along, and the results are much less clear cut. To my eye, he's exactly right: the 5DtoRGB clip solves the Quicktime gamma issues I've harped on in the past, and does indeed also seem to offer a bit of moiré correction thanks to its chroma smoothing. He's not overselling it you can clearly see the differences he speaks of in his example clip: It’s also had the unexpected benefit of fixing some (not all) of the moiré issues. First, it’s lifted the gamma and given me a flatter image and more dynamic range. In other words it is in a completely different league to the footage from MPEG streamclip. It’s an epiphany… Holy crap, this thing is unbelievable! The first thing you notice is just how insanely smooth the footage is, it looks alive, preserved and ready to grade. From two great comparisons, the first entitled 5D To RGB – New Transcoding App Tested and the second 5D To RGB The Follow Up: Bigger Comparison, Robin draws the following conclusion:
#5DTORGB BATCH WINDOWS PRO#
So now that we have our hands on the plugin, what's the verdict?įor Final Cut-based editors, I'll defer to Robin, given I'm transitioning to Premiere Pro CS5 because of its ability to edit DSLR footage without transcoding. But I was beat to the punch by No Film School regular Robin Schmidt, who has done some great tests of his own, and as a result the word is out now even 24 DP Rodney Charters is tweeting about 5DtoRGB. Now that I've successfully built a 64-bit hackintosh, however (the how-to article is coming soon!), I was looking forward to putting the plugin to work. 5DtoRGB claims to offer the highest quality output of all of these options, but despite my posting about the plugin repeatedly, I could do no actual tests with it since my lowly laptop was restricted to 32-bit processing (5DtoRGB requires a 64-bit processor).
#5DTORGB BATCH WINDOWS SOFTWARE#
5DtoRGB is a software plugin from Rarevision similar to Canon E1, MPEG Streamclip, and Magic Bullet Grinder in that it is designed to transcode your DSLR footage into something that's eminently more editable.
Months ago here on No Film School I tried to call attention to a little-known DSLR plugin in development known as 5DtoRGB.
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