deezid

Just switched to ARRI colorspace. Having more luck with dark blues in comparison. And color separation between yellows and reds is better.

looks good. Already received your Pocket 4K? Figured out quite a lot dealing with these nasty red and blue highlights...

Btw, am using Braw for like most of my projects as well. It's just very convenient ?

I wanted a RED for $1300, I received a GH5s with slightly better video quality lol Quite happy though after figuring out some tweaks.

And especially the first video showcases all the reasons I'm neither using Braw nor BMD's film colorspace V4. Harsh roll-off and sharpening - whatever filtering algorithm is causing it. Looks similar to midtone detail in Resolve. Not that a GH5s would be even worse with it's over the top small radius unsharp masking and temporal noise reduction... At least on the Pocket 4K there are cDNG and proper colorspace conversions to ACES or iPP2 with gamut mapping and limiting which fix almost every issue. Only a good OLPF is missing atm.

1 inch sensor 10 bit recording D-log 4k60p with stabilization Non-fisheye lens At least one of these things won't happen...

Already posted this a few days ago. Working on a set of luts which goes a bit further than what is shown in this tutorial and won't help with the issue in like 50% of the shots affected by it.

Well, shooting "4K" on a EOS R and assuming there's no advantage shooting 4K over 1080p doesn't make me wonder at all. Shoot 4K on a Pocket 4K in cDNG, A73 externally, C200 RAW, Red Gemini with downsample from 5K etc. and it's a huge difference.

Seems like BMD isn't open for critic's since Braw/ProRes on the Pocket 4K is perfect. Since you're here @CaptainHook I may ask for fixing the gamut related issues of the perfect V4 BMD color science as well... Right now I have to convert BMD V4 CS to ACES or IPP2 with some smooth gamut mapping applied.

Looks like he used the standard sharpening setting though, yikes. cDNG looks way smoother when it is set to 0. Almost looks like GH5s footage lol But there is also more detail (and noise) since there hasn't been any fast spatial noise reduction applied. The ProRes examples show some halos around his face and nose which are caused by the internal unsharp masking algorithm.

I agree, on my BMCC there wasn't any difference either beside the ProRes being lower resolution. But no additional sharpening, no noise reduction nor colormanagement issues

In case Sony applies the same cheap temporal noise reduction algorithm they use on their A73 shooting video above ISO 1600 causing all bunch of motion artifacts and ghosting, the Pocket 4K will remain the better low light video camera.

Yh whatever, done explaining to you as well. In case people complain about the camera looking videoish or like a DSLM (which do look videoish as well) we just recommend buying Arri or Red cameras instead, even though it's possible to achieve a similar looking image by just bypassing BMD image processing and color science. Cool

Shoot Braw or ProRes and compare it to cdng, Redcode, Arriraw, Canon Raw etc. In case you don't notice it, it isn't my fault and I don't care nor have the time to convince you.

The old ProRes output didn't have any of these new issues. To bypass these newly introduced issues by the heavy internal processing you need to shoot cDNG and work in a better colorspace such as ACES or IPP2.

It isn't. With Braw and ProRes you get strong sharpening and NR (known as the DSLR look), with cDNG there isn't any - when sharpening set to 0 in Resolve. With Colorspace V4 you get weird lifeless greens and clipped reds which cannot be recovered. With Red IPP2 or ACES (after pulling back) you get perfect reds and greens. Small test I made using new Rokinon lenses and cDNG inside Red IPP2 last week - download in 4K https://drive.google.com/open?id=1RRTci4cyRqRsN7vNH1EMEKV1N89AXY9p

I agree. This video looks really DSLR-like. Probably shot using strong internal processing (Braw or ProRes) and bad color grading in the limited V4 colorspace as well. But using cDNG and using the right colorspace this camera is actually really cinematic.

Whish they were fixing the alpha issue occuring since v. 15.2.3 when using ACES or RCM. V. 15.2.3, 15.2.4, 15.3, 15.3.1 and 16 beta V. 15.2 and prior

Just backup'd my whole database and projects. Will report!

Pretty insane. My computer is ready This is the FU Adobe version with smooth (morph) cut, individual resolutions and frame rates, object removal, adjustment layers, dolby atmos mixing, everything way faster of course etc... Edit1: the lipsync tool looks cool!

The S1 (GH5 and GH5s also) uses temporal NR which usually does a way better job than the spatial noise reduction used in the Pocket 4K shooting Braw and ProRes. The only disadvantage might be ghosting in certain situations - but even on the GH5 it's not really a problem. The biggest advantage is that there's way less texture loss and the image is cleaner.

He was using ISO1250 plus Braw. So basically no highlight dr + plasticky skin. By this video it actually is. But seems like Matteo ignores any trick anyway: shooting cDNG instead of Braw avoid shooting at ISO1250 in contrasty situations grading in another colorspace like ARRI log C or IPP2 for way nicer roll-off (RCM)

Agree, it's no comparison to cDNG at 4:1 even in terms of detail/texture and lack of processing artifacts. At least people over in the official BMD forum are complaining as well and demanding for no noise reduction/sharpening setting available. This examples specifically doesn't show any sharpening halos. You need areas strong in contrast to see it. Just download some Braw/ProRes footage from the comment section of the video and look at what happens between her skin and jacket, and also how it renders hair...yikes.

Here's an example https://drive.google.com/file/d/1Z1obV0aGFIf6iDajr9ScTdIoApVOMOSn/view Q0 looks better but still cannot compete with cDNG. cDNG at 4:1 may show macro blocking though when pushed too hard. But at 3:1 it's usually clean.

It looks basically exactly the same lol Same fringing same sharpening halos same noise reduction Since the ARRI Alexa doesn't have sharpening halos when shooting ProRes, nor my exported ProRes footage does and Braw and ProRes on this camera look exactly the same on the P4K I really don't think so. Really didn't switch from the GH5 to the P4K for BMD to apply even more noise reduction aka texture reducer than Panasonic...