cantsin

http://camerapedia.wikia.com/wiki/Radioactive_lenses

Internal 10bit 4:2:2 recording with a really robust codec, and a log profile using the full range of available 10bit values. That's all I would care for to reconsider the GH line. (My upgrade from the GH2 was a Blackmagic Pocket. And I'd still keep the Pocket alongside a GH5 with the above features.)

http://resourcemagonline.com/2015/08/why-the-sony-a7r-ii-cant-shoot-10-bit-or-slow-motion-video/57624/

As someone who went through the nuclear rain after Chernobyl in 1986, I can tell you that your sense of humor sucks in this case. Sorry. Or better: no apologies. Better remove that video from YouTube, or clearly flag it as a piece of humor, because it's prone to be misunderstood. (Aside from that, don't test Russian but Japanese lenses. Radioactive coatings were mostly used in 1970s Japanese DSLR lenses, for example in the M42 mount Pentax Takumar series.)

Not wanting to be nitpicky, but when I saw your video, I thought the very opposite (see screenshot).

Had the 35mm/1.4 in the past and sold it because it's extremely soft and low-contrast (=nearly unusable) wide open. The Sigma 18-35/1.8, Sigma 30mm/1.4 and Samyang 35mm/1.4 are clearly better IMHO. On the other hand, $190 is a steal. If you don't like it, you could sell it again for more.

Noise is another issue/can of worms. Just test-graded someone else's intentionally underexposed test footage shot in "Standard" and "V-Log"; the camera seems to completely deactivate its internal noise filtering when recording V-Log. This is a good thing though, IMHO, because the V-Log-footage didn't have the smudging artifacts of the noise-filtered "Standard"-footage. This means that you have to noise filter in post (for which Neat Video will produce much better results than the camera's noise filter) - the same approach that Blackmagic takes with its cameras. But there is an issue if you have noisier footage in the comparatively weak internal 8bit codec. It could overtax the codec and create blocking and banding artifacts elsewhere in the image. Again, V-Log seems to be really engineered for external 10bit, high-bitrate recording. Hopefully, the GH5 will give us robust internal 10bit, and then V-Log will be usable in the standard package.

Panasonic's point was to make the GH4 V-Log 100% LUT-/color correction-compatible to the Varicam35's V-Log. The Varicam has 1 stop more dynamic range in the highlights, 1 stop more in the shadows - and in order not to require a different correction curve, those are simply left blank in the GH4 camera files. Btw., you can easily test this yourself by shooting completely underexposed and completely overexposed video in V-Log on the GH4. The blacks will be at 30 instead of 0, and the blown-out whites will be at 190 instead of 255. Conclusion: Don't shoot V-Log with the internal codec - unless you shoot a high-contrast subject and are ready to trade in color depth for recorded dynamic range.

Guys, if you can read German, check out this test by Slashcam. They found that V-Log doesn't use the full amount of available color values offered by either internal 8bit recording or external 10bit recording - but reduces 8bit to 7.25bit and 10bit to 9.5bit. In other words, it's the same story as four years ago with Technicolor Cinestyle for Canon DSLR cameras.

All Panaleicas have three severe drawbacks for video work: focus-by-write instead of mechanical focus rings;no aperture rings;software-corrected optical distortion (which boils down to resolution loss when shooting 4K with Panasonic cameras or when using them on Blackmagic cameras);For these reasons, I'd recommend fully manual MFT lenses (such as Voigtlander, SLR Magic and Veydra), or a Metabones Speedbooster with Nikon/Nikon-compatible lenses (such as the Sigma Art series) over the Panaleicas.

Focus is off in all B scenes.

Indeed - and the way to squeeze out the very best video quality from those cameras is to connect them to an external recorder. That will give you better video quality than hacks will achieve.

Different theory: video quality-improving hacks have become much less relevant since Blackmagic cameras are on the market. If your primary concern is image quality, buy a Blackmagic (cheaply even - second-hand BM Pockets can be had for about $400), shoot raw or ProRes, and be happy. Other cameras might be more user friendly, but that user friendliness often is compromised when you install hacks.

Because it's free, and because it's more powerful for color grading (while being less powerful but maybe good enough as an editor).

Then it must be an NX1 since the focal length seems to be in the moderate tele/portrait range, which at 50mm would mean that it's an APS-C sensor. (And since it's an M mount Leica, the camera must be mirrorless.) That just leaves the NX1 as currently the only APS-C mirrorless camera that records 4K video. EDIT: No, wrong, it seems that Leica M can't be adapted to NX, so that only leaves the GH4 - and a hell of a job to keep that tele length stable when shooting without a tripod.

Well, something shot with overly fast shutter and the M31 teal-orange grading LUT applied in post, cropped to 1:2.35 aspect ratio, at least MFT size sensor given the shallow depth of field, and 4K resolution. That pretty much leaves the GH4/G8, Blackmagic 4k, Samsung NX1 and Sony A7rII (or Sony A7s with external recorder). My guess is that it's an 8bit camera, so GH4 (internal codec)/G8, NX1 or Sony.

You have to thank the thread opener for misleading us with a screenshot here instead of a frame, not me.

It's not that easy: You can't send raw sensor output through HDMI, only debayered/processed 8bit or 10bit video signals.The 15fps bursts are limited through the camera's RAM buffer. The camera cannot write this continuously, at stable frame rates with audio sync. In addition, there is no SD card in the world that is fast enough to store 6K raw data in real time. You will need dedicated SSD drives for that. On top of that, the camera would not be able to write such enormous amounts of continuous data without additional cooling systems.No offense, but if such fantasies take over this forum, then it will end up as a camera cargo cult site rather than a forum for filmmakers.

You guys all underestimate limitations of hardware and physics. 4K processing is maxing out today's consumer electronics. Internal video imaging pipelines in all consumer hardware are only 8bit at this point - if you want 10bit, you'll need a fundamental change of internal architecture. Recording images in higher frame rates and higher resolutions might be supported by the sensor chip but simply will not work in terms of heat and power management if you want to keep a camera body compact and consumer-friendly (as opposed to the body sizes, cooling systems and power consumption that are normal for digital cinema cameras like the Blackmagic 4Km, Red or Arri Amira). Even if you're Samsung and have the most advanced chip technology, you can only do engineering, not magic.

In any case, consider this article written by noone else than the editor of this site... http://www.eoshd.com/2015/03/olympus-e-m5-mark-ii-love-and-hate-at-first-sight/

Well, if you had marked the frame with in- and out-points in the timeline and used Premiere's export function to render directly to a TIFF, you would have had a much better quality image. (The video preview image in any NLE always sacrifices quality in favor of quick rendering.) Could it be that your eyes are not very trained yet? Otherwise you would have noticed the bad color banding in the background, bad color resolution in the skin tones and sharpening artifacts on the talent's pores, and the green tint on the skin and part of the eyes (which might come from energy-saving light bulbs)...

Like most consumer cams, the Olympus suffers from a weak codec and sub-par audio: http://thedigitalstory.com/2015/03/external-mic-test-mod-em5-mark2.html

Let's consider the facts: - it's a 1920x1080p image, so there's a good chance that the camera records 1080p native video. It might have been downscaled from UHD, because the in-focus image area is very sharp, but then the color noise artifacts/green-magenta banding shouldn't be there. Or maybe it was recorded in UHD at high ISO. - it's likely from a large sensor camera given the shallow depth of field; the sensor size must be at least 1", more probably MFT or APS-C. - it clearly has color artifacts from 8bit 4:2:0 recording, and must have been recorded with a consumer codec (either h264 or h265 with consumer camera-level bitrates) - it must come from a camera that emphasizes sharpness over color resolution. It can't be a Canon DSLR, the image also looks too sharp for Nikon DSLR video (unless some clever sharpening was applied in post), so the likely candidate would be some MFT sensor Panasonic camera (skin tones of the image look very GH-ish!) or maybe a recent Sony or Samsung camera. If it's not a GH2, it might have been a camera from the GH3/GM1/GX7 generation.

Here's a quick translation: Quick Tutorial: Using Resolve 11 without prior knowledgefcrVersion 2, last updated July 6th 2015This tutorial primarily addresses users of Blackmagic cameras who want to edit raw video. But it is also applicable to other cameras that record CinemaDNG (like the Digital Bolex D16) or whose footage can be converted to CinemaDNG (Canon EOS cameras with Magic Lantern raw video recording). If you want to color correct ProRes footage recorded with Blackmagic cameras in “Film” log color space, you can make use of this tutorial as well. In this case, all operations that are specific to Raw processing can be skipped, and exposure and color correction will only involve Lift/Gamma/Gain/Offset adjustment (as explained in the section “Final Color Correction”). Everything described in this tutorial can be done in the paid and in the Lite version of Resolve 11. Application launchLaunch Resolve, login with the same password as in your operating system, click “Untitled Project” on the upper left. A new project opens..Import footageOn the upper left, click on the tree view of folder and double-click into the folder with your footage. Cinema DNG folders are now displayed as video files (with a film strip icon). Select the clip you wish to import with the mouse, right-click and select “Add into the Media Pool” in the pop-up menu. If necessary, repeat the above to import footage from other folders or drives. In the lower half of the screen, below the "Master" title bar, you'll now find a listing of all imported clips. You can play them back in the top-right video viewer window. Create a timelineOn the very bottom of the screen where the "Media" icon is displayed in bright orange, click on the “Edit” icon that is located next to it. Now you've switched into Resolve's video editing mode. On the top left, right-click into the “Timelines” list and select “Create new timeline”. A dialogue pop us. If you unclick the option “Empty Timeline”, all imported clips will automatically be put, one after another, into your new time line. Editing works quite similarly to Adobe Premiere and Final Cut Pro 7. More on that in the "Editing" section. With the slider on the bottom right of the screen, you can stretch or squeeze the timeline view. Set the color space for raw footageRaw footage has been imported in standard Rec709 (HD video) color space. For color grading, however, it is more practical to have the material interpreted as film log (i.e. Blackmagic's "BMD Film" color space), grade it and apply a LUT (Look-up Table) for transforming film log into Rec709 only at the very end of the processing chain. To switch color space to film log: Open the menu item “-> File -> Project Settings”. In the following dialogue, click the tab “Camera Raw”. In the top-right menu of this tab, switch settings from “Arri Alexa” to “CinemaDNG”. Then switch “Decode Using” to “Project”. For “White Balance”, choose the value that applies to most of your footage in order to simplify grading. Switch “Color Space” to “BMD Film”. It's recommended to also activate “Highlight Recovery” and “Apply Soft Clip” (as an insurance policy against blown-out highlights). Depending on your taste, you might also want to reduce "Sharpness", in the options displayed on the right, from its default value 10 to 0 (to deactivate artificial sharpening of the footage). When everything has been set according to your preferences, click the “Apply” button on the lower right, then close the dialogue window. Activate scopes!On the bottom of the screen, switch from “Edit” to “Color”. We're now in Resolve's color grading mode. Right-click on the video image and activate the option “Show Scopes” in the pop-up menu. Now Waveform, RGB Parade, Vectorscope and RGB Histogram will be displayed. (It really helps to have a second display for the scopes. Even an old 15" TFT from a thrift shop will do the job.)Display log footage in correct colorsIn the field "Nodes" on the top right of the screen, switch the setting from “Clip” to “Timeline”. In the (upper left) menu bar of the program, click “-> Nodes -> Add Serial Node”. Now a miniature view of the active clip appears in the “Nodes” field, surrounded by a green border. Right-click it for a pop-up menu; in this menu, choose “3D Lut” and then the submenu entry “LUT -> Blackmagic Cinema Camera Film to Rec709 v2”. Now, all clips of your project will be translated from log to normal Rec709 HD video color space, at the very end of all color corrections. (A “Timeline” color correction node in Resolve is conceptually equivalent to an “Adjustment Layer” in Premiere and After Effects. What we have done is the same as editing log footage in Premiere and adding an Adjustment Layer with a “Lumetri” effect to apply a LUT transformation to the whole timeline.)White balance and quick color correction of all raw video clipsIn the “Nodes” field, switch back from “Timeline” to “Clip”. (Don't forget this!) Now, all clips can be color corrected individually. In the clip navigation strip on the middle of the screen, click the first clip. (For raw footage:) Below, you'll see a bright orange icon consisting of a circle with a dot in the middle. Click on the camera symbol left to it. Change the setting “Decode Using:” to “Clip”. Now, the settings menus below can be used. If you need to correct the white balance of the clip, click on “Custom” in the “White Balance” tab to correct, in the right-side settings menu, color temperature and Green/Magenta compensation. Keep your eye on the waveform monitor while doing that. All grey areas of the video image should be represented in the waveform monitor as white curves without color fringes. With the “Exposure” setting, you can correct the exposure of your clip; watch the waveform monitor while doing this. If you're happy with your setting, select all other clips with similar white balance and exposure. Click on the symbol with the ticked film frame that is located right below “Clip Decoder Settings”. Now, your settings will be applied to all selected clips. Repeat the last two steps for each group of clips that has similar color and exposure characteristics. The chores are done. Save the project. EditingNow it's time for the actual video edit. We have two options for this: Editing the project in an external program like Premiere or Final Cut Pro and doing the final color correction in Resolve again. This requires a roundtrip: Resolve -> Schnittprogramm -> Resolve; Editing and final color correction in Resolve. This will obsolete the roundtrip. RoundtripOn the bottom of the screen, where the bright orange “Color” icon can be seen, click on “Deliver”. We have switched to Resolve's rendering module. Above the video clip bar, click the clipboard icon - located left next to the loupe - to select all clips. On the top left of the screen, in “Easy setup”, select the option “Export to Final Cut Pro”. Scroll down and click the “Browse” button to select a folder where the clips should be rendered to. Under Windows, it's recommended to switch the codec from “Uncompressed RGB 10-bit” to a more space-saving and editing-friendly codec, for example “DNxHD 1080p 220/185/175 10bit”. Below on the right side of the screen, click “Add Job to Render Queue”, then on the bottom right schließlich “Start Render”. Launch your editing program, import the clips rendered by Resolve and edit them. Those clips only received rough color correction and may still contain exposure errors (like blown-out highlights), but they should be fine as preview proxies for your editing. In your editing program, do not apply any color corrections or effect filters (including noise filters, camera stabilization filters etc.). Do also avoid transition effects. When you are done, save your project and export it as Final Cut Pro-XML (in Final Cut, Premiere or other editors that support this format) or as AAF (in Avid or other editors that do not support Final Cut Pro-XML). Switch to Resolve, reopen your original project in case you had quit the application. In the program menu, click “-> File -> Import AAF, XML…”, then click the XML (or AAF) file written by your editing program. Important (!!!): In the dialogue that now pops up, deactivate the option “Automatically import source clips into media pool”. (The importance of this cannot be stressed enough - only if this option has been deactivated, Resolve will use the original camera files instead of the editing proxies for color grading!) Switch to “Edit” mode. On the upper left, in the “Timelines” view, you will now see two timelines, the one you originally created in Resolve and the one you just imported via the XML (or AAF) file. Click the imported timeline. Alternatively: edit in ResolveOn the bottom of the screen, switch to “Edit” mode. The basic operations are the same as with other popular NLEs, particularly Final Cut Pro 7 (not Final Cut Pro X) and Premiere. The most important functions can be looked up via the (top left) menu bar under “Edit”. Important yet easy to overlook: Resolve's Clip Inspector. You activate by clicking the bright grey icon located right below the timeline video display window, showing a pair of pliers crossed with a paintbrush. This will show you all the options that Premiere and Final Cut display in their “Motion” tabs (i.e. transparency, geometry, enlargement, rotation, crop and retiming methods for slowed-down clips). Final color correctionSwitch to Resolve's “Color” mode and apply fine-grained color corrections to each individual clip in the timeline. Left below the clip navigation bar (in the middle of the screen), click the icon showing a circle with a dot in the middle so that the Lift, Gamma, Gain, Offset control wheels become visible. With your eyes on the scopes, correct "Lift" with the slider below the color wheel so that, in the waveform monitor, the curves will start at the bottom. Adjust Gain so that the curves are neither cut off, nor ending too low. (In overexposed footage, curves will be clipped/cut off beyond repair. Make sure that the clipping point aligns with the top of the scopes.) Adjust overall brightness of the image with the Gamma slider. Correct color tints that affect the whole footage with the Offset color wheel. If tints only occur in the mid-tones while shadows are black and highlights white, correct them with the Gamma color wheel. Apply your correction to the next-following clip: Click the next-following clips and press the “=” key. To save your correction of a clip as a template: right-click on the video image and click “Grab Still” in the pop-up menu. A miniature still frame will be displayed in the bar on the left. Select another clip to which you want to apply the same corrections, right-click the still frame and select “Add Correction”. Double-click the miniature still frame to display it as the other half of the currently selected video clip. This way, you can compare colors while adjusting the currently selected clip to match. The threshold between the both frames can be dragged with the mouse. Corrections always apply to nodes. These can be seen on the upper left, in the “Nodes” field. It's recommended to create a new node for each step of the color correction (“->Nodes -> Add Serial Node”). The a double-click on its icon, a node can be deactivated or reactivated. This helps you making "before/after" comparisons in your color grading. To globally correct colors or apply effects to all clips (for example: artificial film grain via the FilmConvert plugin), switch the node view from “Clip” to “Timeline”, as explained before in the section “Display log footage in correct colors”. All timeline corrections will be applied after individual clip corrections. RenderingOn the bottom of the screen, click on the truck icon for “Deliver”. Above the video clip bar, click the clipboard symbol left to the loupe to select all clips. On the upper left, in “Easy Setup”, select the Option “Video Sharing Export”. For mastering quality, switch the codec to ProRes (only available on Mac OS X), DNxHD, DNxHR, Cineform or an uncompressed video format. Scroll further below and click the “Browse” button to select the folder where the rendered video should be saved. Then click, on the lower right, “Add Job to Render Queue”, then on the very bottom right “Start Render”.

If you can read German, I've written this bootcamp tutorial which teaches you the basics of Resolve in the shortest amount of time: http://data.pleintekst.nl/resolve_schnellanleitung.html (web) http://data.pleintekst.nl/resolve_schnellanleitung.epub (ePub/e-book) http://data.pleintekst.nl/resolve_schnellanleitung.pdf (PDF) http://data.pleintekst.nl/resolve_schnellanleitung.txt (text/markdown)