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Messages - DANewman

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I mentioned this before, the raw - > DNG -> CFR is not using the camera's color matrix, so the comparison is with or without color matrix -- pink highlights relate to the color matrix and white balance.  If you prefer to color correct without the color matrix you can do that on RAW2GPCF conversions.  In the workspace area of Studio Premium you can select color matrix as "Neutral".  If you are using free version of GoPro Studio, click on the "None" preset.   

The -l400 will be support with GoPro Studio 2.0 software out soon -- I guess that wasn't supported within v1.3.2.

Could you send me a short CineForm clip that you can't correct with the saturation clip point. I've never seen that.

In workspace use the sat. Clip point control to remove the pink highlights.

Sorry I've been away.  I look into the last few posts when I return in a few days.

Hi Guys,
inside RAWANIZER i have set this parameter with the new Bc setting
"{OutputVideoName}.mov"  -422 -l400 -bcX:\RAW\ISO 800.RAW

could it works for you?

actually it seems to convert.. even if with the actual file i am testing i cannot appreciate a shadow noise remove.
besides at the end of conversion i obtain the cineform file but the prompt shows this error
"Failed to Encode, do you have gopro cineform studio installed?"
actually i have ! so i wonder why this error appear at the end of the enconding process.

Anyone else experience this error? 

What does flat field correction entail? Would we need to shoot something similar to how we shoot the dark frame, just with the sensor fully saturated? What does Studio use?

I don't know, try capturing a bright light source with the lens off the camera.  The resulting image should be a mask of all the dead pixels.  Care to try and send me, only need a dozen frames.

Yes, there are hot pixels in the black balance clip. I replicated the results with another clip just to make sure. raw2gpcf tells me the average of the black balance frames and does its thing. It removed the FPN, but left the hot pixels.

I see dead pixels. Hot pixel charge up, and are visible on black, dead pixel never charge up and a visible on white.  Maybe we need to add a white flat fielding pass, or at least a dead pixel mask.


Here's a link to my Google Drive shared folder, with one of them files. Converted with v1.13,no big preview in Premium and unable to import into Premiere CC.

Thank for you help

The file is working here in Studio Premium, I expected it would as I white screen indicates an OpenGL driver issue (updates can help.)

I don't have CC, but you may need to install CineForm importers manually as our installer as only good for CS6 and earlier.

Are the hot pixels on the black balance clip?  Did the hot pixels occur after you recording the black balance?  Wondering if it is a software failure or a calibration failure.

I'm in an airport with very poor bandwidth, so I'll try and download later.  Studio via DNG with apply color matrix, except the RAW to DNG tools aren't transfering the color matrix metadata (it is in the .RAW)  As for the black balance, that shouldn't be adding bad pixels, but fixing many of them.


Can you incorporate the upscaling mechanism that was once in NeoHD - RAW2GPCF ? (for us guys with lesser cameras e.g. T3i)

There could be scaling added for non-RAW encodes, but scaling can been done in the NLE without consequences.

I will need sample data that doesn't show in Studio or doesn't import into Premiere.  Not seeing either scenario. 

RAW image (as in .RAW) are not supported in the import room.  If you .DNG that will work.  If you RAW2GPCF (that 95% of this thread is about) you don't need to use the import room, go directly to the edit room.  If you doing everything correctly, and you have solid white in the edit room, and you're on the PC, you need to update you graphics drivers.

Hi guys, first post on this forum, so please go easy. I'm on PC,Windows 7 Home Premium, GoPro Studio Premium,Creative Cloud.

The batch v1.11 converts ony first file and then crashes, so I only get one file at a time,can someone tell me what I am doing wrong?
When I import to GoPro Premium the converted files with RAW2GPCF v1.11 i do not see a preview in the software but changes do get applied to this file when I've got it on Premiere CC timeline and move a frame forward ( but with with issues around keyframes see other issue below ). Should I be seeing a preview in CF Premium upon importing it just like after converting a RAW DNG sequence from step 1 to 2 ?

Regarding the keyframe issue above, when I change any preset LUT in GoPro Premium ( trial for the moment) it kind of creates kayframes on the file in Premiere CC. I have to create a keyrame in GoPro Premium and delete it, for the clip to have the same preset on the whole clip now in Premiere CC. Is it weird?

Anyway, great work, lloks like as soon as those last bits and pieces get fixes I'll be buying the Premium as I can just edit these files with full resno frame dropping preview in Premiere CC on my i7 920 with GTX 285 2GB.

Great job David and the rest of Cineform guys!

Fix that new crash.

Don't use keyframes for that as you are trying to compensate for Premiere's annoying frame cache.  When using Studio and Premire Pro together, it takes a while for the metadata changes to be correctly refreshed in Adobe tools. 

I've tried bl balancing on 5d2 footage, and it looks abit off (?).
Seems like it adds balancing noise to it, not subtracts somehow.

Here is the link to before/after image. The crop has overbright/greytone/shadows data:

So, it raises blacks + adds that 'nice' magenta cast to the shadows.
What do you think, Dave? Dunno maybe it is ok behavior.

It is doing the correct thing, although I might have been too generous with black offset when I quickly tested with my 5D3.  It only looks more noisy as the black is lifted (hoping to dig more out of the shadows), but the black balance is helping, it you color correct to the same, the balance balanced image is slightly better.  Now for the pink tint in the shadows, the black has no inherent tint, yet the white balance and color matrix can cause this when the black is offset too much.  So I've halved the default black offset from 16 to 8, and added that as a user control.

you could use -bo0 to remove the black offset, or even -bo-10 to crush the blacks a little, all shadow tints will go.

New version v1.11

* Added automatic black calibration file detection with '*' wildcards.
* Added metadata injection.

Now to black balance, just record a less than 1GB clip with the lens cap on and the wildcard filename will find it
raw2gpcf L:\DCIM\100EOS5D\*.RAW M:\CineForm\*.AVI -bcL:\DCIM\100EOS5D\*.RAW

The metadata switches are really for advanced or future hacks.  However for those have trouble with pink highlights, and who are not using Studio Premium (your loss), you can override the default highlight saturation clipping point with +HPNT=##  (something between 0.3 and 0.9 should work, with 0.0 and 1.0 the maximum, default is 0.5.)   This are linear light numbers so if green clips one stop before red and blue, 0.5 would be the clipping point.  If green clips 2 stops before (unlikely) then 0.25 is the approximate clipping point.

Turn off the color matrix in the free version by clicking on the None preset in the bottom right of the GoPro CineForm Studio. You can batch this.  After None is applied (any custom metadata), Ctrl+C (to copy), Ctrl+A (to select all) and then Ctrl+V to paste this default to all for CineForm clips.

Today my advice is for you to use the Premium version, as the free version has only minimum corrections for RAW.  Or you could turn off the color matrix, which removes the highlights issue, but you have to start with uncalibrated color.

Yes you could calibrate your camera for different ISOs.  We need the ML RAW header to change to make this more useful.  If the 192-byte RAW header included the ISO, I could automatically load to correct black balance file based on the ISO.  Who do we ask?

The pink highlight requires you to tweak the Sat. Clip point., which is a control within the Premium user interface.  I could add a control to set this default level from the command line -- it is non-destructive metadata.

Kelvin value of the incident light, although the math was a little off in Studio 1.3, and it improved in the upcoming 2.0.

It is applying the color matrix that in stored in the .RAW file.  If the color matrix is wrong for the T3i, the ML build for T3i needs to be updated for for correct matrix.

Resolution must match also.  So black balance for high speed separately.

Scanning will be fast, faster than typing the name of the clip manually.

I was think reading the first frames on every *.RAW file on an CF Card that is under 30 seconds long, if one is all black, that is you calibration file.  You could still specify with -bcFilename.RAW, but you could to wildcard with auto-black-balancing like this

RAW2GPCF L:\DCIM\100EOS5D\*.RAW M:\CineForm\*.AVI -bc

By dropping the file info from the -bc, switch it could (not done yet) just auto scan the L:\DCIM\100EOS5D\*.RAW source.  You would need to get into the practice doing a black black per CF load (or not deleting your calibration file.)

Black balance is effected by ISO and shutter, not aperture or focus (with the lens cap on, both don't matter.)   I'm thinking to automate the black file selection so that a CF load could be automatic, using the most recent black balance file.

Good finds, these have possibilities.  Which sources are having banding issues, as I'm not see that?

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