deezid

Color on this camera is fantastic. Even by just using the standard V709 conversion. Can't wait for the ProResRAW update which would fix the NR issue anyway. We still don't know if it's 10 bit log or 12 bit linear...

Still waiting for the NR and ghosting fix. Buttons are soft but work just fine. Me in the meanwhile shooting with the S1H at higher ISO

same here, node cache coming in quite handy though ?

That was fast. Still waiting for my S1H update announcement even lol

Tried setting the timeline to the native clip resolution (5952x3968). Still working fine but no more noise reduction possibe, so there's definitely a performance hit. Did you edit in native or lower resolution?

Well that's weird. I have a laptop with a 1070 Max Q on Windows 10 here and the footage runs flawlessly, can even apply some noise reduction. Which driver version? Studio Driver (that's what I'm using on Windows). Also Resolve 16.1.1?

What's your GPU? Different GPUs have different resolution limits. And also which operating system? Using Windows and Linux here and the 6K 3:2 footage plays fine here on every machine in Resolve Studio.

Saw that, unfortunately only have the S1H here which doesn't have a new firmware announcement yet. @Panasonic, if you read this: NR OFF Switch. lol Nick Driftwood is testing the beta version of the S1 firmware at the moment. Nice. That would mean finally proper Cuda support like Resolve. Would love to see some benchmarks and tests.

That was my Lut for the Pocket 4K which for some reason is quite close to a V709 conversion which I used on the S1 clip. AlexaX-2, IPP2 Rec709, V709 and probably other Rec709 compatible conversions have many things in common: Great color definition Great tonality No or a very light color cast Smooth roll-off Even colorful lights are rolled off properly The standard BMD V4 Extended conversion on the Pocket 4K at least looks entirely different. And inside ACES the camera performs even worse. Tried to make P4K samples (around 100) look like corrected using my Lut but can only come relatively close. Can't really match it entirely, since there are too many hurdles to begin with. Maybe if I invest more time into developing it...

So close to a new project and nothing heard yet. ? Even borrowed a Pocket 4K from a friend in the meantime for other projects so I don't have to deal with ghosting. Hopefully sooner than later. That's something that even the FX9 won't be able to do. Seems like FF sensor readout nowadays is still a bit too slow sadly. Edit: The EOS C500 MKII will do it.

Like @CaptainHook said, going straight to Rec709 on a yRGB timeline it's possible to fix all the issues mentioned. Also waiting for the latest work from @Sage, which looks like he can even go further, but that wouldn't fix any of the issues I get from working with ACES and the Pocket cameras atm and that would create issues with my upcoming project. Really on the fence right now... Also the Pocket 6K looks great after downscaling to 4K when Resolve scaling algorithm is set to smoother. The footage looks natural and basically unprocessed, the issues seen on the Pocket 4K like (moire/spatial nr becoming visible, sharpening halos) seem to be gone due to the larger sensor size and more important resolution. @crevice I agree the old BMCC looked more organic out of the box. No processing at all, really pleasant color and no clipping. Also forwarded many samples to Panasonic and I think they may reduce the issue like on the GH5 but not really fix it entirely which would mean by providing a NR OFF switch like on their EVA-1 and Varicam line which would also mean more noise and worse dynamic range ratings I don't care about anyway.

Apparently it was firmware 1.1 on the GH5 which fixed the ghosting issues. Let's hope Panasonic will be as fast this time as well... http://www.dvxuser.com/V6/showthread.php?353763-GH5-High-ISO-Vlog-disaster-(motion-artifacts-etc)

ehm, ok? There's nothing wrong with the source file. No oversaturation or even clipping in your example. Also in sequence settings. At least in CC2019 the issue with both settings being set should be gone. That's great news. Still not sure about keeping my S1H. Postives: Great color, works perfectly fine in ACES, no clipping issues, great DR and roll-off, IBIS and battery life, ease of use Meh: Mediocre Codec choices which may cause issues, but all good so far Bad: Temporal Noise reduction ruining many shots - barely usable honestly. Even recorded externally to ProRes HQ (tried an Atomos Shogun and Odyssey 7Q+) Pocket 6K: Positives: Organic looking image With grain and no artifacts, good dynamic range, great screen, great codec choice with flexibility and no macro blocking nor banding which is also speedy on older machines Meh: build quality, will put it into a cage anyway Bad: Battery Life, no viewfinder - needs rigging and can't really use it in ACES atm due to clipping issues and color looking - one dimensional and brown? On a yRGB timeline I can fix many issues by myself but it's quite time consuming and the next big project coming up soon will rely on many VFX shots, so ACES would be great - like it has been on my other projects before. On the other hand the temporal noise reduction resulting in ghosting and smearing on the S1H made tracking a nightmare already in another project I'm working on atm. Basically have to do everything manually because the tracker gets confused. Maybe I should just switch back to the GH5 lol

But why is there no IDT or lets call it automatic transformation anywhere else but when using cDNG/Braw in Resolve? E.g. ProRes footage cannot be used inside an ACES workflow at all - even in Resolve - since no input transformation for BMD Film V4 is provided. Also is it possible to get the saturated red highlights fixed in the future? Color cast honestly isn't an issue using the UMP/G2 in BMD film V4 at least. My complaint is spefically about the Pocket 4K using the ACES transformation.

you clearly didn't read through this thread. The S1H has the same issues even a GoPro or your everyday smartphone has - temporal noise reduction. An issue the Pocket 4K/6K don't have. Argh. I just wish I could afford RED and ARRI cameras. (Image-related) problems solved.

You could create some kind of input Lut to convert to Rec709. https://cameramanben.github.io/LUTCalc/LUTCalc/index.html Wondering if that one works. Also change Sequence settings to max. bit depth to avoid further color shifts. Rec2100HLG_Rec2100-Rec709800_Rec709.cube 2019-10-29.lutcalc

Going to send that to Gerald Undone lol the poor usb port...

Yeah, whatever. Netflix should do HD because your theater can't do more than 700 lines and also shouldn't care about missing ACES specs and future proofing their own content. And people should buy different cameras because Premiere introduces banding in their footage. ? Won some cinematography awards with this camera. The GH5 is still heavily flawed and so is every (consumer and prosumer) camera and many could be fixed by firmware updates... GH5 issues were: V-Log L using Rec709 matrices (so no real ACES compatibility either), weird color, small dynamic range, strong oversharpening etc. and even ghosting/smearing which was fixed with later firmwares after people kept complaining. Still the best choice for me at that time. So what's your point?

1) We have 4K laser projection everywhere even here in Germany. And if your theater keeps playing inferior 16th gen 35mm film copies, that isn't Netflix fault. 2) BMD doesn't provide any IDT or even documentation for implementation into an ACES workflow outside of Resolve and Fusion nor is BMD Film V4 properly calibrated on the Pocket 4K. Look at the Terra 4K and GH5s and Z2: The IMX294/299 is capable of producing nice color when done properly. Also Z-Cam provides documentation about their colorspace and even IDTs for usage inside OCIO and therefor basically any compositing tool - it's a must especially for Netflix who wants their originals edited like that. 3) Reason: People keep blaiming their cameras for banding issues - which aren't caused by their cameras but Premiere Pro. A very specific one: The make @helium mad game, duh.

same here. hmm yh, by cheating with strong temporal noise reduction creating all kinds of artifacts when there's any kind of motion in low contrast areas. It really needs a fix, even if that means lower real dynamic range.

yep, also 4K seems to look slightly cleaner with way more resolution, but when you start zoom in you'll see banding artifacts Verdict: I want to see more 12 Bit CineDNG files in 4K. Thanks ?

Noticed as well. But at least no weird red (BMD) or blue channel (S1) clipping.

Film can resolve more detail than modern 4K cameras are able to, especially native 4K sensors. But keep going... When shooting Braw and cDNG on the Pocket 4K, 6K, UMP, URSA G2 etc... Davinci Resolve applies its own transformation (IDT) for BMD Film V4. Even worse BMD doesn't provide any documentation nor any proper IDT so it can be integrated into Baselight, OCIO, Nuke etc. don't you think? Color science is another factor. It's just not good. It's quite bad actually and horrible to deal with. I'm a colorist myself and even prefer the GH5 over it - which has many other flaws and reasons why it hasn't been considered by Netflix. Only the Ursa Mini Pro and G2 provide good color science in case you prefer shooting with BMD cameras. Great tonality and definition but are still plagued by the infamous red channel clipping issue. Premiere can be forced to higher bitdepth decoding but still crawls and shifts color around and doesn't have any color management. But maybe you like that. Idk?

Dude, were not even talking about that. Netflix chooses cameras which match with their workflow and allow for a 4K output with HDR. The BMD Pocket 4K isn't usable in their preferred ACES (to Rec709 and Rec2020 ODT) workflow because color science is weak and the IDT only exaggerates the issues this camera has - it's a brownish nightmare with a clipping red channel on top and missing any fine nuances in hue which I tried to stretch but sometimes ended up in artifacts despite having a 12 bit codec to begin with. The Pocket 6K is way better in that regard but still cannot compete with even the UMP and G2. The codec is isn't the issue here either as shown on the G2. Also 35mm resolves way more than just 700 lines lol Still - wouldn't fit into Netflix's workflow.

B) dynamic range is slightly better on the S1H but color science is another league. Especially the Pocket 4K has the tonal range of a potato in comparison and the ACES IDT is horrendously bad. C) actual audiences pay for 4K.