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Maybe I'm blind but I've now looked at all three of these videos on my monitor (as opposed to on my phone) streaming at 4k resolution and pausing the video on relevant frames. I'm sure there is a difference but I don't see anything that I would object to in the S5II shots. If anything the moire control seems to be working because I saw some in the standard profile S5 shot that wasn't in the comparison shot for the S5II!

Here is the 4k upload 🙂

First, the Flat profile is indeed a log profile, and the gamma can be adjusted in the camera. And 10bit colors was available at the start even in 5.3K 60p. In Linear mode, there is hardly any fisheye, and at 5.3K resolution there is plenty of detail for 4K despite the crop. But now with GoPro Labs firmware: 1. You can up the bitrate to 200 Mbps (HEVC, 10bit). 2. You can now shoot 4K 120p in 10bit (newest firmware). 3. You can turn off noise reduction - and you get visibly more detail, and any noise is actually very fine. 5.3K using 2.35:1 crop (10bit, Flat, Linear, extended color gamut (Native), 180 Mbps HEVC): 4K 120P 10bit, Flat, 180Mbps:

Looks really good @FHDcrew

This guy only looked at "shadow" detail. To me the key issue is extended ability for capturing highlights, and his basically low contrast test scenes cannot test for that. LOGB=400,-128 definitely gives a flatter image than "Flat." The main advantage of LOGB=400,-128 is that it approximates a known log gamma (Fuji Flog), making it easier to grade in DaVinci Resolve, which has a transform for Flog. There is no transform or LUT for GoPro's "Flat", so one is on own's own trying to convert it to some standard like REC709 or an HDR gamma. The REC2020 color is also an approximation in the camera, but, again, it is a known color gamut that one has transforms for. GoPro "Native" is a wider gamut than REC709, but I do not know of any LUT or transform that converts it to a known standard gamut.

I've just saw this video that shows very well what's going on with these settings. Enable English subtitles and then it's straightforward. NR01=1 effectively improve the image details but you are forced to use a denoiser (he uses Resolve temporal denoiser). LOGB=400 doesn't add any improvement. Just jump to 1'42"

I think it's a huuuuuge bug 🙂 This is the explanation: LOGB=logbase,offset - Super experimental, alter the log encoding for more dynamic range, or for a closer match with other camera’s log curves. i.e design your own flat profile. Ideal for use with 10-bit, and the existing flat color setting. e.g. oMLOGB=400 for a little push in dynamic range or oMLOGB=200,-128 for a crude Fuji F-Log emulation. Note: As the pixel size isn’t changing, that increasing the logbase (flatness) may not significantly increase the dynamic range. You could try to enter it manually

As much as I like the LX100, I think putting PDAF should be the strategy going forward for M43. Nothing wrong with the GH6 sensor but from the lack of GH6 sales + $800+ price drop and YouTube DFD backlash puts Panasonic M43 users in rough spot imo. I think they need at least one system with PDAF that cost $1000-$1400 to get them back in the game.

I'm realizing the app is very buggy. The log option should be oMLOGB and the app puts oMLOGO

Just installed and tried on my GP11 Back and it works. I used QRControl app to myphone. The code itself is !MBITR=[value] The value you choose can be from 2 to 200 (note, anything lower than 100 DECREASES quality and file size). So, if you wanted to increase the bitrate to 150 mbits/s, the code would be !MBITR=150 If you use the QRControl app, just slide the top menu to "Extras" and then use the drop-down menu to select BITR. You can choose to make the change permanent (until you change it) or leave it on the default. If you don't make it permanent, the camera will revert back to the default once you turn it off. Reading here https://gopro.github.io/labs/control/extensions/ Log, bitrate and noise reduction should be used together. I tried oMNR01=10oMBITR=200oMLOGO="400" Just copy and paste in the "add command" text area in the QRControl app or just select your preferred values form Extras menu and it will add the correct controls for you. I got a 180Mb file flat color profile but very noisy. Maybe oMNR01=10 is too low. I think that for my use I will just increase the bitrate. NR01=x - Noise Reduction control, which should be combined with the LOGB control. e.g. oMNR01=50 range 1-100, 100 being 100% active (default), so 1 is the noisest. When pushing the dynamic range of any camera, shadow details may be suppress by noise reduction. Increasing the logbase will enhance the shadows, but will also reveal noise reduction artifacts tuned for a different encoding curve (the more consumer friendly Rec709.) You can back-off the noise reduction to restore shadow details, with the downside being a noiser image (protentially requiring noise reduction in post.) Also a noiser image will need a higher-bitrate to store the additional information (so BITR, NR01 and LOGB are all related.)

On Gitub a page with features and model compatibilty: https://github.com/gopro/labs

I don't know. I experimented with labs in the past with a GP8. Now I have a GP 11 and i would like to test these mod. I'll try later. Reading that page it seems that a GP11 balck shoud have all options. Did you load the latest labs fw?

Thank you, Davide DB. Unfortunately, when I point my GoPro to the QR code, I get the message "QRCode non-GoPro". Can it be that some codes only work with certain GoPro models like the 11 Mini ?

Latest lab codes are here but it's really a mess https://gopro.github.io/labs/control/extensions/ I guess BITR LOGB NR01 all used together

I just saw there is NO smoothing in C4K ! The picture looks exactly the same than the S5 and S1. However 4K and 5,9/6K are impacted, and sadly V-log as well. You can see how some textures look in 4K, look at the green grid : There is a big difference about details rendering between 4K and C4K, 4K sometimes looks like upscaled 1080P with some textures like skin. I hope panasonic will fix this in a firmware update soon.

Battery size I'm fully with you but ergonomics? It misses a joystick compared to the R7, moving the AF points with the touch screen is better for movies as you are not bumping the camera as with the joystick and is quicker so not really sure that this one omission makes it such a big deal. Andrew posted that R8 has bad ergonomics and people do not even check 😁 https://camerasize.com/compact/#903,890,ha,b https://camerasize.com/compact/#903,890,ha,t Cards got much more reliable if you buy good ones. I had 2 cards (same shitty Lexar 3400 CFast crap, no more lexar ever since then) failing in 20 years. The biggest advantage that you can store the two cards in different places to avoid thief or loss so you save backup time. But honestly if you have 1500 dollar camera budget your are probably not shooting the Olympics. Having two cameras is probably more important that two card slots. As you can almost afford 2 x R8 (or maybe even better 1 R8 + 1 R7) vs 1 R6 II it maybe the safest option if you do it professionally. One thing that most people do not know that dual cards protects of data loss but if 1 card fails the camera stops recording even if it has 2 cards.... it is bad but is like this at least on Canon. But I do agree for some IBIS + Longer battery + dual cards is more important than FF + 4k60 HQ the good thing that you can pick the one that fits you better or stretch the budget and and have it all in the R6 II or 1 R8 + 1 R7

Like the GH6, the S5II uses a sort of digital aliasing/moiré filter to helps with repetitive lines. I use Panasonic cameras since the GH4 and there is something I really disliked about image quality on their new cameras since the GH6 and now I know what is it. This + the increased noise reduction on the standard profiles make the pictures sometimes weird/plastic, especially on skin. Fortunately, this digital moiré filter is a bit weakier in V-log but still there. To compensate the softening made by this digital filter, Panasonic has added more sharpening compare to the S5 especially with standard profiles, and (according to what I see on facebook) even in V-log when both camera have the sharpness set to 0. But the end result is not really good, the image looks sometimes weird mostly when there is motion or on the skin because it smooths some textures (like skin pores) and sharpen other ones (like eyelashes), so there is less details (despite higher in camera sharpening) than on the S5 and S1.

I felt the same way after the R5 ridiculous BS, but I had to set my personal feelings aside and buy what was best for my business. I came very close to going all in on Panasonic for photography and video but I couldn't bring myself to buy into the L mount "alliance" or go all in on a system with such terrible AF. With Panasonic out of the picture and my large collection of EF mount lenses, when the C70 came out and the R7 came out they were simply what was most economical and what worked best for my business. Canon sensors really aren't known for their DR, even the C70 with its famous DGO sensor is just ok IMO, not the revolutionary breakthrough that the marketing materials would lead you to believe. But with all modern cameras being so good, just ok is good enough for me when combined with its other features. I feel the same way about the R7, and R6II, their IQ is good enough for anything I need and the story you are trying to tell with them is far more important than specs on paper. The R8 on the other hand IMO has a lot of real world compromises (battery size, ergonomics, single card slot, etc.) that I feel are more important than IQ to keep it at its current price point with a FF sensor. YT and other social media platforms do far more damage to my IQ than any crop sensor or line skipped footage ever will. Today right now I feel that Sony and Canon have the most complete ecosystems, since I already have an investment in Canon EF glass, it is a natural choice for me to stick with Canon's ecosystem.

Yes definitely. With Blackmagic I believe the Fairchild sensors were dual gain but not the newer pockets or the Ursa 12k. So much goes into cameras its hard to determine what is actually advantageous. Recently I used both the Sigma FP and ARRI Alexa Classic on a feature film. It was a good opportunity to put both cameras through their paces in a variety of scenarios. During production I began to question my decision to use the Alexa classic due to its size. However now that I just finished coloring the film I can say the Alexa was so much easier to work with in post. It just looks nice without any work needing to be done. It is also so easy to adjust. We only shot in prores 422 sometimes at 1600 iso for low light scenes. It still looks amazing. I worked on a short film where we shot on the Z-cam S6 in 4k prores 422 and Panasonic S1 in the 10 bit 4k codec. We came back to reshoot a scene and used the Alexa. Again the Alexa felt so effortless in post. I am sure my post workflow for the Panasonic could be better. But I can't argue with my eyes. Probably not a fair to compare a once 80,000 Hollywood camera to a prosumer $2000 camera though. Even when shooting in 422 it's still doing a 14 bit readout. But I think the color science and processing is almost just as important. I know that with the right post workflows most cameras can look identical these days when shooting 10 bit log or RAW. But the simplicity of cinema cameras has really drawn me away from prosumer gear, seeing as you can get a lot of older RED's and Alexas for reasonable ish prices these days.

The sensor in the z9 is designed for speed. I've found Nikon flagship D4/5 cameras lacking in dynamic range. It was the first thing I googled when it came out: what the video dynamic range was like, and from everything I could find it wasn't great. And yep the odd video sample with gnarly highlight rolloff. Say that itqs dynamic range is limited in a Nikon group and people go slightly nuts 😆. I'm a Nikon shooter, im used to waiting: so I'm waiting for the z6iii or z8, and Nikon hopefully getting back to the 14 stops of the d8xx's

This one did not use NR01=1, but I will be using that in all future videos. Yes, linear 16x9 is a crop, but GoPro claims it is using some oversampling and it is a crop from 5.3K so there is not the loss of detail one might expect.

Another dirty window video:

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