Deadcode

i dont agree, think about speedboosters. A Canon 50mm F1.2 L will give the same look on A7S2 and on a6500 + Metabones Speedbooster. Or even on GH5s + BMPCC speedbooster.

Before you are perfectly sure Premiere is showing you the valid colors, upload the graded HLG --> REC709 footage of yours to Youtube and check it on your phone. Your phone is color managed, if it matches to you computer screen, you can trust in your eyes. In MacOS Safari/Chrome/Davinci/FCPX all shows different colors to me if im not using the factory default profile for my monitor... so yeah, well done apple... (but i should not cry, im using a hackintosh :P)

It is remapping the video file to your monitor profile. Playing back REC2020 content as REC709 is the way the HLG implemented to be backward compatible on older displays, so quicktime is actually working as it should be. VLC has some serious color management problems. Open VLC player play a video file, and while playing change the monitor calibration profile to whatever you want. It does not affect the image in VLC which is a shame...

Im using High Sierra on Hackintosh and it seems like the VLC player is not using the monitor calibration profile. It's like sRGB Default profile hardcoded... Quicktime is using the monitor calibration but with a little gamma lift (1.9 gamma maybe?) You should check your footage in Davinci Resolve. In the Perferences menu try it with "use monitor calibration" (Quicktime look) and try without it (VLC look) Advice 1.0: You should try the following in Davinci: in the color panel add a Color Space transform node and transform your REC2020 to REC709. If it matches to the image in quicktime, then yes, it shows you REC709 version of the footage without permission. Advice 2.0: upload the out of cam HLG footage to youtube, and check it on your phone. It will shows correct HDR image with P3 Gamut. (you have iPhone X if i remember correctly) If you watch your REC2020 HLG files on youtube on a regular REC709 display, you will see a REC709 version of it with gentle highlight roll-off. The colors will look like the same as it was in Quicktime. Edit: check youtube in Safari, Chrome on desktop and in app / safari on phone if you want total confusion :D There will be some differences... So in which app should we trust? :D i trust in the scopes....

Anything from hyalinejim. This is the best example Your earlier grades were better too. I have been testing ACES workflow for HDR with 8 bit footage and the results are nice, but the banding is quite heavy of course.

Im saying you can export to rec2020 from raw footage in davinci, and maybe with proper display these oversaturated neonish colors can look fine. In rec709 it's simply unrealistic. I have rec709 display too. Everyone is using the 5D to get the most filmic look for cheap, this is not it.

With such a high amount of shadow lifting and highlight recovery you get unrealistic colors. You have to do proper tone-mapping and get the contrast back. These images might look good if you grade for proper REC2020 ST2084 HDR. Just switch output color space in RCM, and set your levels properly. Dont forget to switch your scopes to HDR in Perferences / User / Color tab. And buy a HDR capable display :D

Why do you start another thread about the same question? Trust me, not these cameras will limit your creativity.

The quality of the final video is pretty good for a gopro! The flare is caused by greasy lens, you can avoid it if you are not using the skeleton case, but the frame. Of course in this case the camera is no longer protected against the elements. Almost all of the action cameras are using the same sensor, the low light performance is most likely the same. With the gopro's you can use a special professional mode where you can turn off all of the precessing. For this mode you need Protune 2.0 capable camera so Hero3+ at least. Use the usual Protune, Native WB, Flat settings, fix your shutter speed (1/50-1/100) and instead of "max iso" choose "fix ISO" value. In this mode the in camera noise reduction turns completly off. In this case you get a very detailed (and of course very noisy) results till iso1600, but after NR the final footage can look better.

Most of your questions has been already answered in the crop_rec on steroids thread After you read the whole thread you will be crop rec recording master :D. It's heavy stuff.

I know your GH5 - > Alexa work, that's why i asked. No, non of the consumer Sony cameras can send 10 bit signal to external recorder or record in 10 bit to SD Card. Probably the A7S III will. But you can start working with A7 III till the A7S III arrives :P

Dont you wanna buy an A7 III to match to your Alexa? :D (and share the result of course)

+ this happens with everyone who's grading with sgamut3.cine without REC709 gamut conversion too... With proper WB and gamut conversion the skintone is perfectly lined to the skintone marker (+2° to the red as it should be if we are talking about caucasian male skin). With ACES workflow the results are even better, the highlight roll-off is much better + nice skintones, and you didnt even started grading...

Finally! A thread for the new Blackmagic camera, where we can discuss facts and review's about the camera. Oh wait...

I hope your experience is not built from Final Cut Pro X Proxy editing. ProRes Proxy is fine if you dont want to grade the footage. For 4K 25p it's 151 Mbps which is a little low for ALL-I codec. If your plan is to record in BMD Film LOG with any of the Blackmagic Camera's ProRes LT is the best choice with good balance between image quality performance and storage space (about 302Mbps for 4K 25p)

If i remember correctly the lower bit depth raw is developed the way i wrote earlier, so the least important bits were chopped off while recording, and added back in post process. Unfortunetly I cant find the discussion about it in the 12-bit (and 10-bit) RAW video development discussion thread, probably it was in it's parent topic.

Here is an example for ML 14 bit: 1111 1111 1111 11 This is ML 12 bit: 1111 1111 1111 This is ML 12 bit after you convert it to cdng: 1111 1111 1111 00 The last two digit can represent 2^2 = 4 shades. This is the difference between 14 bit vs 12 bit recording with ML RAW. With 10 bit recording the difference is 2^4 = 16 shades vs 14 bit recording with ML RAW.

Filmconvert has very nice profiles for GoPro (just make sure you download profiles for Hero 3/4/5, the color is the same, but the profiles are for different settings, for example Protune Flat, Native WB is only in the Hero5 Profile) , and you can use the 5D Mark III BMD RAW profile for your 700D

ML RAW is important here because the way it was implemented. While you record 10 bit raw, the camera truncate the 14 bit signal's last 4 bit while saving the footage to the CF card. After that when you are using MLV Dump while you import or transform your files to DNG the app applies the missing bits to the DNG files. So technically you work with 14 bit files in resolve even if it was recorded in 10 bit, where the least important 4 bits are noise. (probably MLV dump add "0000" to the end)

ML RAW is uncompressed it's hard to break even a 8 bit raw file. You cannot see difference between 12 and 14 bit, because the last 2 bit contains noise most likely. You can see difference between 10 bit and 12 bit if you lift extreme amount of shadows, shadow banding can occur (caused by noise) with 10 bit files, but with such a heavy lifting the footage is unusable regardless of bit depth. You will not see any difference between the 10/12/14 bit (raw) files in everyday scenario. Why didnt you asked this question in the topic where it belongs?

Storm is coming... SD Card writing speed hack If you are familiar with the ML possibilities, you already know the best RAW capable cameras are those with CF card. The CF Card interface is capable of 70MB/s writing speed with 5D2, 75MB/s with 7D, and 95MB/s with 5D3. 6D / 700D which has SD interface is only capable of 40MB/s, limited by the camera and not the SD card. Now the ML team are pumping up the SD card interface writing speed. It seems like the 40MB/s can be raised up to 70MB/s or even further. That means the 700D will be able to record in 2520x1072 continuously I hope they can make it stable

I see your point. HLG can work perfectly fine with 8 bit codec. Of course 10 bit is better, but: do you see the difference on the out of camera footage? I think even on your shogun you cannot see any difference between the 8 bit HLG and 10 bit HLG from the GH5. And nowdays the consumer HDR TV is around 500/700nit bright... not 1500

Actually i never said even anything similar :D Both 8bit/10bit HLG is awesome, finally those who dont know anything about colorgrading can have a decent looking image without effort or knowing how to use their camera! Or something like that.