deezid

I really don't think (or hope) it's done in camera. BM never did that before. They always delivered a RAW like image in ProRes with all the nice looking grain and smoothness, very much like ARRI and Red do. Don't really care about chroma noise. Easy fix in Davinci Resolve without losing texture.

I think the only reason it looks less organic is that basically every clip besides the Balloon one is sharpened and looks like a simple BMD Log to Rec709 conversion was applied.

Glad it helped. Btw, uploaded a new version with fixed highlights and brighter lights and less highlight compression (not trying to recreate a necessarily cinematic but more commercial type of look). Don't forget to download the original ProRes file.

Colorgraded the Models-footage from vimeo done by @John Brawley in ACES colorspace (Rec709 Idt) just using curves and log tools. Got rid of the harshness using blur and nodes qualifying brighter skintones with even more filtering. Used curves to compress highlights. Even added NR and grain. Looks way smoother now - download the ProRes 4K file to see for yourselves. Wonder what you guys think Looks good to me at least lol BTW, I think the Balloon clip looks very much shows the Blackmagic signature look. Reminds me a lot of my old BMCC 2.5k, just with more detail and way less aliasing and moire. Stunning!

And that's what makes Blackmagic, Arri and RED stand out from the rest.

The GH5 is accused for sure. Since the oversharpening in 4K or even HD is just way too much. In 6K there is almost no sharpening at all. The sharpening happens while downscaling. The more it downscales the worse it gets (6K vs. 4K vs. HD vs HD slowmotion). Since the GH5s doesn't downscale at all, the problem is basically fixed on this camera.

yep, that's exactly how it is. The 10 bit 150mbit/s implementation is way more effective but also more CPU excessive than the other H264 implementations. And in terms of artifacting it surpasses every 8 bit H264 choice on this camera quite easily in basically every situation (Talking about V-log L here).

Just shoot a clear sky in V-log using the 8 bit codecs. And you'll never do it again. Try using the codec instead and do colorgrading in Resove. In terms of actual visible quality the GH5 codecs behave like this: 400Mbit/s Intra and 150Mbit/s IPB 10bit both look visually the same in most situations and grade extremely well, even in extreme low light with lot's of noise and usually don't show any banding artifacts. I actually managed to create banding using these codecs only once since I've bought the camera (gray wall underexposed). 200 Mbit/s 10bit 4:2:0 H265 codec for 6K anamorphic has some slight banding issues and shows some macro blocking. 150Mbit/s 8bit codec doesn't like gradients at all. Workaround is to use CineLike D and the Cinelike D to V-log conversion by @Sage 72Mbit/s 10bit H265 codec shows some slight banding, macro blocking and even some blur. 100Mbit/s 8bit codec doesn't work with gradients nor noise. Comparable to the GH4 H264 implemenation. Don't ever use it. Some showcase of the terrible 150mbit/s 10 bit codec:

Yh, can't find it.

Just a question @Sage What happened to the CineD conversions? They seem to be gone? Thought they were quite handy since I prefer the 4K output over the even stronger sharpened 1080p output for 60p.

Is this with sharpening set to -7 Nice colors btw. What were your settings?

Noticed as well.

Another option which might affect hues and even more: precision using luts in Davinci Resolve is 3D Lookup Table Interpolation. It should be set to Tetrahedral to avoid banding issues...

Nvm, reproduced the issue by preparing two different versions of the grade - one with bypass, one without and it's easily visible going back and forth.

It seems like the Hue distortion issue is fixed in DR15. At least I can't reproduce the issue here. If I use the Hue bypass via layer mixer or not - there's 0 difference in either Waveform, Parade nor Vectorscope

The lovely low contrast look but with nice full shadows.

It's quite easy to destroy the iPhone X camera in terms of dynamic range though. Clips basically every highlight.

We might replace it as well or at least add some additions to it (C200 RAW and Pocket 4K). Lenses used were the Sigma 18-35 F1.8 (indeed), 50-100 F1.8 and Tokina 14-20 F2.0

I mean you can put your Macbook Pro i9 into a freezer, attach the Blackmagic eGPU to it and performance problems are solved. I don't see a problem here...

You should cooperate with Blackmagic or even the Academy to provide a mathematical approach without any lut involved. Quite happy using ACES right now (no banding and amazing primaries) but missing how your lut acts in shadows and highlights in terms of saturation. Maybe even a version from ACEScc (or cct) to ARRI REC709 look inside ACEScc would be amazing. BTW: Interpreting Cinelike D footage as V-Log L insided an ACES workflow using your conversion luts works perfectly fine. ?

Redid the whole colorgrading process in ACES after some tests. Way cleaner than any LUT based workflow in REC709 colorspace I used before! This is how the movie will look like:

Looks great!

Ever tried GH5 footage? ?

Anything with a Intel Core i7-8750H and NVIDIA 1060 works fine. If Resolve is important get a laptop with a 1070 or even 1080 instead, 8GB of GPU memory are necessary. 16GB of system RAM is the bare minimum. If compositing is done in 4K, 32GB is the minimum RAM capacity. Many laptops nowadays have at least 1080p IPS screens with almost or even full sRGB coverage. Perfectly fine, even for grading after calibration.

Maybe Edius realized the clip was in REC2020 and converted to REC709? In Davinci Resolve only the gamma will be converted but Gamut has to be converted manually (RCM). Output looks great after that as well.