#TIME LAPSE IN FINAL CUT PRO X PROFESSIONAL#
Now that H.265 footage is becoming more commonplace in professional production workflows, I have a few observations about how it’s used and what some common issues are around H.265. Now that we have established what H.265 is, let’s talk about how you actually can efficiently utilize it in your own work. H.264 utilized same size blocks while H.265 advances the concept. How does H.265 increase efficiency over say, its predecessor, H.264? H.265 achieves greater levels of compression, including better variable-block-size segmentation, improved deblocking and motion compensation filters, sample adaptive offset filtering and better motion vector prediction and precision. H.265 utilizes a different and more efficient blocking scheme in its compression than its predecessor H.264 did, resulting in greater compression efficiency and more accurate image reproduction with fewer macro blocking artifacts. The end result is that 10-bit video reproduces gradients and skies with little to no perceptible banding and for keying/green/blue screen, compositing and color grading, 10-bit gives you much more color resolution to work with, meaning that you can refine composites and push the signal around in color grading considerably more. Shooting 10-bit video, the maximum number of colors that can be displayed jumps from 256 to 1,024 levels per channel. When performing color-intensive techniques like green screen, keying and compositing, it can be more difficult to pull a clean and precise key with 8-bit video.
If you shoot skies, you’ll often see banding, as well as in numerous interior situations. The result is that 8-bit video can look very good but will be limited in color reproduction, resulting in color banding in gradients.
As you’re probably aware, with 8-bit video the maximum number of colors that can be displayed at any one time is only 256. That alone makes it an interesting codec as the camera’s other recording choice, H.264, is limited to 8-bit recording. You will see similar results on interiors lit with any bright sources on flat surfaces where the light falls off in intensity.įor me, the main factor in H.265 is that its efficiency allows 10-bit video recording in a tiny mirrorless camera like the Fujifilm X-T3, although not all H.265-capable cameras support 10-bit recording (looking at you, Apple!), but most do. What is image banding? This frame capture shows banding if you look at the gradations from the sun, left and right to the sky. Getting Rid Of Banding? 8-Bit capture or processing typically results in banding. From here on out, I’ll refer to HEVC primarily as H.265, but just beware that as your read and research about how this codec works and how it related to your gear, you may see both of the names HEVC and H.265 in common and interchangeable use. Like many other terms in our business, there are often two or even three commonly used names, but just to be clear, as of today, HEVC and H.265 are the same thing and are often used interchangeably. Out of my own two main digital cinema cameras, only one of them supports H.265 recording, the Fujifilm X-T3, but I also notice that my GoPro Hero 7 Black supports H.265, although GoPro refers to it only as HEVC. It supports resolutions up to 8192×4320, including 8K UHD, and unlike the primarily 8-bit AVC, HEVC’s higher fidelity Main10 profile has been incorporated into nearly all-supporting hardware. In comparison to AVC, HEVC offers from 25 percent to 50 percent better data compression at the same level of video quality or substantially improved video quality at the same bit rate. I was amazed to discover that H.265 was started in 2013, but it’s only about the past two years that it seems to have reached critical mass with a lot of new cameras, from Go Pros to high-end digital cinema cameras, including it in their codec options. High-Efficiency Video Coding (HEVC), also known as H.265 and MPEG-H Part 2, is a video compression standard designed as a successor to the widely used Advanced Video Coding (AVC, H.264 or MPEG-4 Part 10). While this is by no means a complete list, popular cameras like the entire ZCam line, the Panasonic Lumix S1H and AU-EVA 1, Go Pro Hero 7 and 8 Black, Apple iPhone, Canon XF-705, as well as many others, currently or will support H.265 in the future.
#TIME LAPSE IN FINAL CUT PRO X HOW TO#
Does your current primary camera support H.265 recording? Other than a preset in your camera’s codec/recording options, what do you know about the H.265 codec and how to most effectively use it in your production and post workflow? I thought it would be timely to explore H.265 usage in digital cinema and pro video since we’re just receiving word that there are already new options on the horizon that will update and compete with H.265.
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