deezid

I prefer shooting in 6K as well. The image after downscaling in Resolve Studio is way smoother and doesn't show any digital halo sharpening artifacts when Scaling is either set to Smoother or Bicubic unlike the internal 4K footage which seems to use lanczos or spline.

Basically what it does with 8 bit cDNG is interpolate them. I'd still agree working in 16 bit to avoid processing artifacts inside ACR (and Photoshop/After Effects for that matter).

I can definitely see the 1DXMk3 entering the list in terms of video quality, color science, resolution etc. But it may miss some essential features again.

Given its image quality and features it makes sense. Still waiting for the ghosting fix though... Well, it blows it away that's for sure but not only in terms of dynamic range and great roll-off but also its color science and lack of sharpening but higher levels of detail at the same time.

Still waiting for fixes (temporal NR) or just give us NR off like Canon does.

Makes me wonder if I want to keep my S1H with its great color science and dynamic range but codec and even worse temporal NR issues and get this one instead... Looks even better than the Pocket 4K did before Braw.

Quite impressed about the RAW samples also. Interpreted them as BMD Film and used my Soft film LUT to convert to Rec709, but made it even darker with way more green - also added some grain und gaussian blur. Really liking the result.

Noticed after updating to the latest CC2019 version (still had 2018 installed because I didn't use it anymore anyway) in case you tick Max Bitdepth in Sequence and Render settings you'll get a similar amount of artifacts but a slight green shift and slightly higher gamma (darker image)...

https://www.dropbox.com/sh/6yh66zg7yu17p6y/AAA9Ic6JZott_BMNRbKXOupra?dl=0&fbclid=IwAR1Pg4u_t9yfEY5APezn3ZVoFSjvPDejm_0NAQo1NoaKEBbTWKIZD_fYs3k Clip 303. No, didn't use any 8 bit process - only the "32-bit" ones. Also importing the ProRes clips into Premiere I created in Xmedia Recode still doesn't help either - while in Resolve everything is fine.

It's basically the same, used the same adjustment layer. You can clearly see the artifacts around the "gradients" though which don't appear in Resolve

Depends on the decoder/encoder used to convert it to ProRes. If you use Media Encoder from Adobe you'll run into the same issues. Already tried converting to ProRes using ME and Max Bitdepth. Same issues. You can use Xmedia Recode to convert to ProRes https://www.xmedia-recode.de/download.php Quality is virtually identical to the internal decoders in Resolve. Set output to Quicktime MOV Codec to Apple ProRes Profile: ProRes 422 HQ Audio to copy

Free version doesn't decode 10 bit H264/H265 footage. Here's a screenshot with some extreme "corrections". It looks even worse in motion.

Workflow Premiere Put GH5/S1H footage into Premiere Apply curve or lut or whatever you like in Lumetri footage breaks apart, macro blocking and banding Workflow Resolve Put GH5/S1H footage into Resolve Apply curve or lut or whatever you like footage looks fantastic Apply even more corrections footage still looks fantastic All the complaints that have been made about the GH5 or S1H having banding issues were made by Premiere users like Wolfcrow or Cinema5D in the past. It is not a camera issue. Panasonic (and Fuji, Z-Cam and probably others using H264 and H265 in 10 bit) really should start putting out warnings about Premiere.

It's not the lut, it's the processing and decoding in premiere. It has been trash and still is. Even with nothing applied the artifacts are visible. Had to deal with that issue way too many times as a colorist receiving footage to grade from clients. Only way out is: XML and original source footage.

In Premiere Add footage Add Lut and curve Footage breaks apart. Set Sequence Settings... to Max Bitdepth, no change Do the same in Resolve Footage looks amazing. Has been that way forerver and has never been fixed by Adobe although many are complaining such as Cinema5D. Here's a video showcasing the problem (download and playback using MPV, DNXHR 10 bit codec) https://drive.google.com/file/d/1x2odKIubw9K7yvTa1hIy_Op-iQz4AXrJ/view?usp=sharing

Nice, but still Premiere's timeline is 8 bit and just decoding of GH5 and S1H 10 bit files makes them look like trash and even the Max Bitdepth setting in sequence settings doesn't help (anymore?). Just tried it out. Not a camera issue since the footage looks perfectly fine in Resolve. Guess which still has been made with which program

Since always, it basically converts to 8 bit which causes many artifacts. Resolve doesn't do that as it works in 32 bit accuracy. Cinema5D stopped using it for that reason in 2017.

Oh ok. Not compression settings. Just putting 10 bit footage into Premiere will do.

No, I mean not edited. Like straigt out of camera. The actual file. The "Original" file is what you got out of your NLE.

it's edited lol Upload original files from camera.

I mean I managed to break GH5 and S1H footage in Premiere quite easily, basically by inserting it into. In Resolve on the other hand I can go completely crazy and rather make macro blocking visible than banding lol

In the source footage? The footage you provided was edited already.

Do you use Premiere?

Glad you didn't see it yet. Because once you did you can't unsee it

Talked about it with some engineers at IBC a few weeks ago, how it affects the image. Also in contact with some ambassadors who forwarded the samples I took with the S1 and S1H and they are aware of it. Also many ambassadors want the same option: To turn off NR entirely.