Deadcode

I did the exact same test with a6300 SLOG2 and it was smooth before/after REC709 correction. On your sample i can see banding on the 8 bit footage, but the bitrate is very low (16Mbps). So i would like to recreate your sequence but with Resolve > ProRes HQ, and 8 bit forced high bitrate reencode from that ProRes to h264. Or maybe i post my footage later

Thank you very much for this test. Could you please upload the original dng sequence to somewhere?

This is the correct statement. Advanced colorgrading, VFX and working with power windows requires 10 bit source. Curves/contrast/saturation adjustments not really. My eariler statement about the community refers to this, most of the users grading capabilites and needs are strickted to Curves/contrast/saturation adjustments. This kind of push on the image requires more bitrate then the need of higher bit depth. This is why i think most of the users dont really NEED 10 bit. If 10 bit is available it's good. But nowday it's expensive. In the future if more and more brand brings 10 bit to the table, it will be awesome. But today it's not worth it for the average user.

Actually you are the who shoot HLG because you cannot get decent result from VLOG. LOG is not for those who "grade" with LUT's. But you are far more professional, you grade HLG with LUT's :P @anonim you are right, this should be the reason of this topic, but troll on duty just arrived without constructive comments.

Those people who mostly complain about 8 bit limitations are usually backyard flower shooters. 10 bit is awesome, but those who cannot get decent results from 8 bit wont get satisfied with 10 bit either. Next step is blame the bitrate, then blame the camera and lens, and the NLE. And these people never think they have a lack of knowledge... In conclusion: 10 bit for most of the users in EosHD forums wont give any benefit over 8 bit. GH5 always get in picture because that's the only affordable consumer camera (+GH4) which is able record in 10 bit. In the future there will be several choices with 10 bith recording in affordable range of course, but when it happens everyone will cry for raw recording because it's soooooo much better (not) then compressed 10bit..

That's true because in FF the A7s oversamples from the full sensor to give you pin sharp 1080p. In crop mode the oversampling area is about 3K, so of course the RS will be better. You also win 1 stop light with the booster and lose 1 stop in iso performance due to the lower amount of information in sensor reading. From your post earlier: with external recorder you "only" get 8 bit 4:2:2 4K, not 10bit. I think you will love the camera at first place, the image is very detailed, the dynamic range is awesome, the codec is good.

Of course i did. But i have never seen banding problem on my footages, and i shoot SLOG2 very often. I'm using Davinci Resolve for colorgrading and mostly Premiere users complain about banding.

Dave Dugdale proved me with this video that 10 bit is a fairy dust if you are a run＆ gun shooter, wedding cinematographer or you are in love with architecture cinematography. I have never faced banding issues with 8 bit codec, and if you are shooting with correct WB you don't have to twist your footage till it breaks. And if it breaks it's probably because of the 100Mbps bitrate and not the 8 bit... I think for most cases 10 bit gives you just a little more advantage over 8 bit if you nail your exposure and WB. And i have worked with BMPCC in ProRes/RAW and with 5D RAW before. It seems like the next big think is shooting in HLG with 8bit which works perfectly fine.

Awesome results! I tried your workflow deband workflow + NR + dither, and the results are very nice even with this low bitrate footage

Okay guys, let's do the "is it possible?" challenge Here you can download Andrew's original A7S II SLOG3 banding (and black sun) example video. I have never seen this kind of stripes ever in any of my footages, but this is the toughest example of the problem in 8 bit 420 4K 100Mbps. Do your best with grain and NR, i hope you can make it work. edit: ohh, as i can see, you are unable to download the out of camera file, the "original" files is already re-encoded, so challenge canceled

We are talking about the following: Can we upscale 1080p 8 bit footage to 4K 10 bit if our method is noise reduction and diffuse banding with grain? Sounds like a magic trick... or im just sceptical.. Im using this method for a while now anyway but i dont think we can talk about 10 bit color information here.

Then you should use SLOG2 - S-Gamut with the official correction LUT Or (not) use SLOG3 - S-Gamut3.cine with official correction LUT The problem here: if you expose properly, then you have to correct exposure before adding any of the LUT's above. With s-gamut there is a color shift from magenta to green while the exposure rises, so after the correction you may have green tint... Or use Slog3/S-Gamut3.cine correction which not shifts with exposure, but banding may occur with slog3 on 8 bit cameras. The best case if you are using Davinci Resolve with Color space mapping and use SLOG2 with S-Gamut3.cine > SLOG3/S-Gamut3.cine > official correction LUT After that a little tweak on the skintones, a little hoax on the green and the blue of the sky, and BAAM, you have the same image what filmconvert can provide :D

My hopes and dreams: Everything what A7R3 already has, but with 24MP sensor, with sub 2k price tag In summary: A7R3 like 4k in both FF and crop mode, good iso range till 12800 in video, nice AF performance with adapted lens in video mode, better IBIS, new battery type, and bright screen with no dimming

Your skintones should not exposed higher then 60 IRE if you are using Cine4, otherwise it will be highly compressed, just like on your sample image. If you are using default metering you have to underexpose about 0,66-1 stop to get proper exposure

No, you have to select the clips in the edit tab, right click, clip attributes, and switch range from "auto" to "full". After this you are able to pull back those highlights with curves or with gain

You should read the sony guide very carefully. And if you are shooting Cine1/Cine4 dont forget to recover super whites from the 109 IRE area, otherwise you get very hars clipping... instead of smooth rolloff with the cine4

Maybe one day i'll do a quick comparison between Neat Video and the built in NR of Resolve. Of course in a good way, and NR with Raw footage is even more effective. Long time ago i tested if it's better to filter noise in ACR, but it's not, Temporal NR is much more effective then spatial

The rendering times with Neat video NR applied is very long, especially if you use it on 4K footage. With the built in NR function in Davinci Resolve studio you can have almost same results, but with much much faster then Neat. Everything else is possible with Resolve Lite. @Mattias Burling will you do a 2018 edition video about the 5D Raw with 4K? I loved your last one about the 5D Edit: currently im testing the built in NR on underexposed a6300 iso12800 SLOG2, and the results are insane...

Since Resolve can handle the dng's, you no longer need ACR (or After Effects) for debayering. Davinci is over 20 times faster you can see your video in real time, compared to 1,5 fps rendering in AE there is no benefit to use ACR any longer. The recovery is almost the same, the shadow boost is the same, the crispness is better in resolve. The noise is better in ACR, but only if you dont have full Davinci or Lite + Neat Video.

This is still experimental so i dont recommend yet to use it, first get used to the 14 bit processing. 10/12bit is tricky if you are not using MLVFS, the black levels are off, and the blacks going pink. You cannot force the DNG to show the picture profile, but there are possibilities where you can debayer in different color/log spaces. It doesent matter, trust me, BMDFilm is perfect starting point and you have the grading skill to get the most of it. If you have lack of knowledge in Davinci Resolve, or you want to use hyalinejim's (thanks again!!) beautiful Ektar 100 LUT then you should transform color spaces.

You can increase the default 11,7 EV DR of the ISO100 on the 5D cameras to 14 EV with dual iso. 1 line ISO100 and 1 line ISO800 readout Downsides: banding/moire /half resolution in the non overlaped areas, such us highlights and deep shadows, long processing times. It's not worth it in video mode, the resolution drop in the highlights is too obvious. In photo mode it's insane, you can reach Nikon level of dynamic range. In the second video you can see serious oversharpening...

Nowdays: no frame drops at 1080p 25p 14bit. Possible to use 10/12bit mode with almost no penalty (ok, deep blacks can show some banding with +5EV push), there is lossless compression which allows to save card space. In fullframe 1080p 24/25p mode there is live view with peaking or focus assist with focus confirmation, sound recording, real time histogram/ETTR hint for proper exposure. Post process workflow: you can post process your files without transcoding... The MLVFS (magic lantern file system) fuse based app simply translates your MLV files which contains the raw images and the sound to you Davinci resolve or After Effects. If i remember correctly, Premiere CC can handle .MLV files out of the box. The camera with the hack is now rock solid, and you can easily use it for payed gig. I have tried BMPCC and the ease of use compared to 5D is night and day... and the 5D is the winner. (however the BMPCC is clearly a winner in dynamic range)

You made the right choice, i think everyone should try 5D raw once to see if it fits to his needs. I walked on an inverse path compared to you, 5D first, then a6300. In the past 3 month i didn't even touch my 5D. The ease of use of the Canon is awesome, the raw colors are great, the resolution is enough, the battery life is good... but after few TB of footage (which will come very soon), after constant strugle the lack of AF when using gimbal you will starting to realise: does it worth it? But for the first few weeks you will think this is the camera what you have been waiting for, so we are waiting for more footages! About the video: that tiffen filter which gives the halo to the highlights is awesome, i really like it ohh, and go for the Davinci path, now it's much more advanced then it was years ago Pro tip for resolve RAW: default sharpening is 10. Go 35 for razor sharp detail, and go 0 for film look.