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@Shirozina That's weird! I know ProRes is a DCT-based codec but I didn't expect it to compress when converting <180mbps bitrates. Now we know! @yiomo Generating optimised media within Resolve gives you control over your proxies within program & will export original footage unless you tell it not to. Whereas transcoding means you have to manually relink the footage and make sure you export the right media. They both do the same but the latter requires more manual labor.

GH5 all-i is pretty constant 400Mbs static or moving. 150Mbs is also quite constant 150Mbs although it is variable about 145-155 Mbs. I remember GH3 all-i was very variable and seldom reached its maximum.

hehe, the ultimate pixel peepers' thread. You guys are crazy ! So to see a difference you have to actually stop moving image, take one frame out, zoom said frame to 400% and on top of it draw an arrow pointing towards the difference because it's hardly to see it otherwise. It's a great exercise and I appreciate your findings but do you think this difference is going to make you more money or make you stand out from others? In my opinion thanks to your test I learned a valuable lesson. For my clients, I'm happy to use IPB and save space.

I made many tests today. My final conclusion: All-i is better with complex motion. A surprise is that ipb is little bit better in static scene. It compresses the important i-frame less. The difference is very small. Motion difference is bigger but still quite marginal. A static comparison first and moving second (red). I hope this site dont re-compress my images.

Mercifully those were the pre-forum days☺️☺️I remember clearly getting new speakers and the 2 days later hating how they sounded...on many occasions....mercifully I got to wallow in my misery in isolation!...it was a time that taught me valuable lessons though, that serve me well today with my film gear "problem"...luckily mine is a "lens problem"!!!....I'm very happy with the cameras I buy and also with Panasonic!...both in terms of their products they put out, but possibly more importantly, who they are as a company...and how they respond to feedback from their customers. Voting with one's wallet is one of the few ways consumers can excerpt some power.

The other Pink Elephant in the room, is that we are approaching the point where any IQ improvement in a camera will become difficult to detect...It's like the days when I was obsessed with sound systems...constantly needed new speakers or amp or turntable, and the inprovements did not reflect what I was spending on the gear....at some point I started listening to music again instead of my system??...the same is true for these cameras....at some point one has to stop magnifying images to 400 percent and start doing something with them, or the acquisition becomes about the camera, instead of the content you create with it! There are some guys on DVXUser going through exactly the same quandary with the EVA1 now...the IQ is very good to my eye....the mount is a deal breaker...but these guys keep looking for more footage...and complaining about everything they see, while others are already shooting with the cam...I really believe we're close to the saturation point, where ergonomics, or the lenses you own or whether you light or not, informs which camera you choose.

Yes I have found the same thing. HDR demos in stores shows often normal contrast scenes adjusted very contrasty and colorful. The result is over saturated and eye watering unnatural images. When I go outside I dont see over saturated world. The normal world is actually quite dull and boring color wise. A good HDR system should show high contrast and high color only if the subject has it. Just like a good audio system is not making too much bass or too load sound all the time (Action movies does ) . It is a difficult question. If the HDR system works right the image should look majority of time normal. Only the high contrast/high color scenes will look different. But it is difficult to sell a new expensive system which looks the same as old majority of time. Film makers must find shocking colors and sunsets to make HDR shine but in normal life there are not so many shining moments.

Not true - bit rate is just data rate and not data quality. I've seen Sony XAVC from my A7R2 (not even log) and even 10 bit internal from my GH5 fall apart in grading when trying to transcode to 422HQ (banding appears in the skies) when I had wrongly assumed that Prores was making copy without any data loss. Transcoding to a lossless codec works but the data bloat is unworkable (which shows how much compression is used even in ProRes).

If you are editing your NX1 files in Premiere then your blacks are looking crushed because it is expecting a luminance level of 16-235 and there is no way to inform Premiere that this is not the case. You can compensate for this by changing the levels at both ends or I have found that applying the brightness and contrast filter to all clips using these settings brings it back fairly close to the original exposure: brightness -3, contrast -15. (Video Effects, Color Correction, Brightness & Contrast). I now use Davinci Resolve which allows you to stipulate the luminance levels of a clip which it adjusts accordingly. Why this is not a feature of Premiere still puzzles me. Of course if you are not using Premiere then you may find a similar issue with your editor of choice.

For those unfamiliar with the Ribcage Backbone Mod here’s a video from a modified Yi 4K and a 25mm C-Mount lens... I know the GoPro can shoot in ProTune for some slight grading, but does Yi have a similar Flat Profile? To be fair, here is a video from GoPro Air modified with the Ribcage...

Thanks, I take your point but And then someone posted a video here comparing the Yi to the GoPro... I do perhaps over-react because there is such a focus on GoPro from their early domination, that many just will not look around at what is happening, which is that GoPro is no longer at the frontier and is way overpriced.

For editing/grading, it doesn't matter so you are better using the proxies to optimize performance. Only for the final render you should use the original media. The Optimized media workflow in Resolve takes care of that. Yes

Transcoding will almost always lead to information loss. Depending on the codec it can be tiny or very large. Thus, if you are working with Resolve I would use the built-in proxies: Generate optimized media. You can control which clips are transcoded, the quality of the proxies & have them removed at the end. Also the final render always runs on the original media optimizing quality.

Transcoding to ProRes is not lossless - use a proxy workflow to get footage you can easily manipulate in your NLE but still generate your final output from the original footage. That’s the whole point of a proxy workflow.

And a night test:

No, they are more expensive, that's all... :-)

Only $500 back when it was on sale! Wish the Pocket or Micro would go on sale again.... Don't care! Better off to just talk about S35 instead. Sadly :-(

I shot on my A7s extensively for three years before upgrading to the II and I can't say that I was ever lamenting the lack of IBIS. Certainly, if it was a choice over IBIS or low light, I'd go wit low light personally (at least in the case of A7sII) despite the fact I agree with: It's a rare situation that I shoot over 3200ISO. Too much obsession with paper specs these days. That said, the sensor size of the A7sII is what secures it for me. And the benefit of its low light abilities is that you can shoot at 800, 1600, 3200 ISO very cleanly, not something you can do much on other DSLRs. That's a much more useful feature than being able to shoot a mess of noise at 409,500 ISO.

Testing 200 Mbps 4K 60P on the Yi 4K+ I set the bitrate at 200 Mbps and shot for 1.25 hours, resulting in 47 GB's of video clips. The temperature was 76 F, with direct sunlight. No overheating, no frames dropped. Perfectly normal, except for somewhat higher battery draw, but I had still had 33% left when I stopped. This "hack" does not alter the firmware, it just loads the settings in memory. Doing that does not invalidate the warranty, and is easy to install. Does 200 Mbps make a difference compared with the default of 135 Mbps (a 50% increase)? Who knows; but it does not hurt!

A little short film I've literally just released online! Shot on a BMCC and graded with my BozBMDFilm to Rec709 LUT. Download HERE: https://bulentozdemirfilms.wordpress.com/downloads/bmcc-bmpcc-bozbmdfilm-to-rec709-lut/. Hope you like

We should rename this thread to "Actually, you can make the GH5 do slow-motion"

I wish you did a test with Samsung NX1 using bitrate hack seeing how it does improve 120fps 1080p footage substantially.

And just to stress that the purpose of this particular prodder is to help develop colour profiles rather than being an end thing in itself, in case you thought I was advocating twiddling around like Kraftwerk while you're recording video. Though having said that, I think that there is a place for a similar type of control surface (one with faders as well as pots and a few switches) to operate the cameras in terms of the rest of its functionality like shutter, iris and focus. In that way, the colour profile function could just be switched into a second layer and be permanently available. Should also mention that you will be able to save a lot more than the one custom profile that Panasonic offers you with this system so once you have all of these parameters as you like them then you can save the whole snapshot for instant recall via buttons on the controller. If this gets any traction you'll also be able to easily share them with each other too to load on to your own cameras.