FWIW I have been editing 4K 60fps footage from the DJI Osmo Pocket camera.

Vegas Pro 16 does it OK but the user interface is much slower. The preview feature (the window and the frame counter below it, etc) lags behind for several seconds. Whereas shooting HD 60fps from the same camera is fine.

Since there is virtually no way to host 4K anywhere where somebody else can see it, and you need ~100mbps bandwidth for decent 4K quality in a detailed scene, I have stopped shooting in 4K. It would make sense however if I was doing geometric corrections, which the Osmo doesn't need (it is rectilinear) but a Go-Pro probably does.

What did you mean: "Whereas shooting HD 60fps from the same camera is fine."?

Also, what do you mean by "geometric corrections"

Thanks

Peterh337 is talking about 4k footage from DJI Osmo Pocket, which is H.264. I don't understand what this has to do with your question about 4k footage from Hero7, which is H.265?

chris-h

I have a GoPro Hero 6 Black, that will also shoot in 4K @ 60fps. The codec is in a ".mp4" container, with the codec being HEVC, which is the same for the Hero 7. You can check my signature for the system I currently have. The footage is "extremely" difficult to move around on the timeline and edit, as is. The post above concerning proxies within Vegas would be your best bet, depending on YOUR system. We don't know.

I did a quick test last night, and found that DaVinci Resolve 15.2.3.015 (latest build) Basic/Free version, which does a great job of creating DNxHD/R transcoding, won't output at 4k60p for rendering. I mention this as the GoPro's are notorious with their highly compressed footage, so even using say 4k30 or 4k24, I use DaVinci to "transcode". Don't seem to see any "drift" with audio doing this either.

If you have the "older" version of GoPro Studio (check the moviestudiozen.com website - he has a tutorial about using GoPro Cineform). He also has one about using HandBrake, which is what the knucklehead staff of GoPro tell everyone to use - yeah, convert from h.265 to h.264 - one compressed format to another. Not very helpful with their 4k60 and 1080p240 footage.

GoPro "geometric corrections" would be peterh337 referring to the "Fish-Eye" effect that these cameras are noted for.

I use both Vegas Pro 15 Suite, Vegas Movie Studio 15 Platinum Suite, DaVinci Resolve Basic 15, and HitFilm/Ignite Express on my system. Yep, they all have their strengths and weaknesses, but they all get "TKO'd" by GoPro HEVC. And yes, Premiere Pro and Avid, and all the rest have the same problem.

Worst case, though probably best is create the proxy with Vegas, or you can also put the footage on the timeline then do your own "transcoding" from the program.

***Just did a quick "transcode" with Movie Studio 15 and my short clip of the GoPro footage. You can put the footage on the timeline, don't do anything to it, save project, render as and use the QuickTime settings and customize your own template for using DNxHR Low Bandwidth. Just know it is not a "FAST" or "Quick" solution - it takes time to transcode, correctly! Again, go to the MovieStudioZen Website, and there is also a tutorial on how to convert to DNxHD/R.

"Worst case, though probably best is create the proxy with Vegas..."

+1

Proxies or Intermediates, both take time to create and request storage space. For me, the automatic creation of proxies for smooth previewing in Vegas is the easiest way. For the final rendering the original H.265 footage is automatically used.

I would go for intermediates when previewing in full 4k resolution is a must.

The only advantage of the H.265 coded Hero7 footage is, that it needs less bitrate and storage space as H.264 coded footage. Wow it achieves the same quality with less space. The disadvantage is the needed power to edit this footage.

IMO there is no advantage to the editor in using H.265. There are benefits to acquisition and to delivery. The editor gets to deal with all the problems.

As the GopGo Hero7 uses the same bitrate for H.264 and H.265 (as far as I know), the PQ of H.265 footage should be better.

Noted.

Looks like I'll be spending some time on the MovieStudioZen website!
It is ridiculous that we have to jump through these hoops just to do basic edits, we're not told about this when buying the cams!
Is it correct that all the editing programs have difficulties with the HEVC footage? That's incredible!
I'm (obviously!) no expert, but there must be many buying the Hero 7 (which is a great action cam) without realising how difficult it will be for them to get there footage edited and delivered in a watchable format.
Am I right in thinking there is a tutorial about proxies and intermediates somewhere on here?
Thanks for all the help and input.
Work to do...

EDIT:
I just watched the GoPro/Cineform video (as advised) and am blown away at the simplicity (albeit time-consuming) of this solution. Also, I'd like to say thanks again just for the link to this site, he really seems to know his stuff and there are so many tutorials for Vegas. What an amazing resource!
Thanks

There may be a tutorial here, but if not lots on the web and most likely Derek has one at Movie Studio Zen.

Although h.265 is developed and available and more and more cameras are offer it, it hasn't grown to the point there are a lot of editing options. It's a highly compressed delivery format that is extremely efficient for that purpose. It is not a great editing format. I know lots of folks with GoPro's who never edit their footage and for what they get they are pleased with posting the direct results. Then there are also lots of folks who would never publish their Go Pro footage without editing, so we suffer for a bit until things catch up.

As editors, it is always wise before jumping into a camera to download some test footage to determine how it performs in our editing and post production tools.

On the other hand it is good that we have workarounds to use until the perfect world has matured.

For people that want to use and make 4K video with a GoPro 7 it would be good or better to realize that 4K HEVC with pretty high bitrates, also when made with other camera's, are very difficult to handle in a NLE. That is the pain they have to suffer with that kind of footage.
But there is no need to do that also not with a GOpro 7 with its advances compared to older models.
I personal have found out that I don't need to export to 4K , but I get very good files in lower resolution to look at my modern 4K TV with a very good upgrade function.
So most of the time I use 2,7K output for FHD export to be able to zoom it a bit.