Deadcode

This is clearly a user error, and it's really hard to troubleshoot this kind of error. Maybe he will have more success in the ML Forums, where this question belongs.

Unfortunately i am unable to edit the footage without transcoding, both FCPX 10.4 and Davinci Resolve 14.2 cannot handle it. The skintones are blown out, the WB is off, this one is very challenging, now i respect the grade what you did in the first post.

Always use calibrated display as a reference. If you set for example red colour to reference it will shows exactly the same color on your neoplasma as other colorist in other project graded their project to their reference. If you grade for your plasma, everyone will see wrong colors. Could you please share some ungraded clips (which contains skin tones) with us? i would happy if i can test my colorgrading skill with 10 bit footage.

Thank you for the review Andrew! One thing is not clear: You recorded the footage in HLG REC2020. Then you added your 1DC LUT on the top of that but on REC709 timeline, and this is what we can download from vimeo? So the downloadable footage is SDR right now?

Ohh, the good ol' Filmconvert. It never gives consistent results between cameras, even when the exposure and the WB is the same... But it can give a good starting point before matching.

Something is wrong with this graph, 10,5 EV dynamic range is not too much. All of the Sonys are above 14EV, GH5 is above 12 EV, even my 8 year old 5D Mark II is capable of 11,3EV. Maybe this graph shows jpg dinamic range

I will in "his" topic with comparison shots against 5D, but not in this thread, i dont wanna flood this with sony stuff I tested Kidzevil's workflow and it's very good. Almost as good as mine :P

You can convert raw to any log space you want. If you are using EosHD C-log LUT's you can use Canon C-Log conversion in Davinci resolve. 5D3 is a 1080p 25p camera if we are talking about reliability and stability. Dynamic range is good, but it's 11,7 EV and you can get about 13 stops from A6300. Yes the 5D3 has the best cinematic image for the price range, but you have to deal with huge store space consuming and longer post processing times Im using 5D2 and A6300 right now. I will sell de 5D very soon. I think everyone should try 5D ML RAW once. You can see if it fits to your needs. Now, after a year of tweaking i can get very nice colour from the a6300 so the 5D no longer have the advantage.. So i think if you can do it, buy a 5D3 for a few month but don't sell your a6300.

You just quoted a forum member who have 4 posts on the whole forum and cleary dont understand how the hacking process work. Yes there is a slow progress on hacking Digic 6 cameras like 5D Mark IV and 80D, but the guys constantly hitting in walls while trying to hack the newer (Digic6) canon cameras. Probably they will do it, but not in the near future... and in about a year (i hope) we will have lot of 10 bit cameras with good codec which means RAW recording will no longer be as shiny as it was years ago..

kidzrevil you did exceptionally good job in this thread. Your grades are awesome and filmic. However i have to point out some misunderstandings: There is no point to use Slog3 on 8 bit cameras why you lose color tonality with sgamut on 8 bit sony cameras In one of your post you said you could overexpose about +5 stops without clipping. In this case you used only a small percent of the available tonal range with slog3. But the grade looked very good. But if you film in Cine4 and use Filmconvert on it, it would look the same, but it would hold up much better if you have to grade it heavily with Power windows in Davinci Resolve. Don't underestimate Pro gamut, i think it's the most accurate of all but yes it can clip colors compared to s-gamut. I dont want to offend you and i think you did a great job, but if you read those threads above, maybe you reconsider some of your findings.

I have a math question too! Can you have fullframe look from the GH5 with the following terms: GH5 in 6K 4:3 mode with Metabones Speedbooster XL = 1,28x crop 4:3 If i add an SLR Magic Anamorphic 1,33x lens to it, will it be a fullframe equivalent field of view (and 16:9) BUT with anamorphic oval bokeh and lens flare? GH5: 2x crop x boosterXL 0,64x = 1,28. SLR Magic widens the image(?) so the crop factor will be reduced by 1,33 and on the 4:3 sensor the projected image will be 16:9. So if i do this with a 50mm F1.4 lens it will be 50mm F1.8 in terms of fullframe blur/separation and F0,9 in terms of light transition (+1,33EV with the booster). am i right?

Yes please! Noone yet compared Protune NativeWb Flat gamma Low sharpness with the previous models. The Ceo said they improved the dynamic range here about 1 stop in this mode too! Noise comparison in low light with 1080p? Everyone comparing 4k in low light so the new NR cant shine. Ohh and please show comparison with the new codec noise levels. With the Hero4 black in 4K Protune native flat with low sharpness the codec is clearly unable to hold up (400% crop and its obvious) even with static frame It would be nice to see a comparison with the new raw audio options with and without external microphone. Thank you!

Could you please create some comparison shots between Version 2.0 and Version 3.0? And thank you for this video!

In the EosHD Raw shooter guide Andrew recommended to shoot ETTR or even further, blow out what should have been blowned out. RAW zebras are perfectly accurate you can see what will blow out. Shooting like this you can have perfectly clean image if you are doing post process in Adobe Camera Raw. If you are using Davinci Resolve and you are shooting wide dynamic range scene you have to face the noise... but Neat video can clean up everything perfectly. Another way to get clean image if you shoot dual iso raw video. The benefits: huge dynamic range (14,2 EV, if shooting ETTR ISO100/800) clean shadows. The sacrifice: insane post-process times, aliasing in the non-overlapped areas so in deep shadows and highligts. I think it's not worth it, but give it a shot.

GX80 heavy grade just for you The hue vs luma slider is always a killer only raw is able to handle it, but that was the easiest way to show the difference

Thank you for the test, very informative. Did any of you noticed that the 1Dx Mark II's motion "candence" seem like it's much more fluid than the others? It's like 30p.

I think you should use EosHD Pro Color. AWB is fine on Panasonic cameras. Much better than leaving at 5600K at indoors by mistake... With non-LOG profiles just simply protect your highlights. Usually 0EV or -0,33EV with auto exposure is fine. In europe use 25p for 4K and 50P for 1080. Yes you lose some frames in slomo, but you can save a lot of work in post. 60p > 24p is ok but far from perfect 4K 25/30p + twixtor introduce lot of artefacts if you really want to slow things down. And the most important thing: live for the moment on the trip and not through the lens. You are collecting memories with your girlfriend and not test footage for facebook/youtube.

Some of you may interested, i tested my Feiyu MG V2 gimbal with my 5D Mark II + 24-105 F4 L The max payload for the gimbal is 1630g, the camera + lens is 1520, and it worked perfectly. I i didn't even tuned to motors yet. I used ML RAW with 1856x928 at 23,976 fps. The focus was fixed (the AF is terrible with live view on the 5D2) The gimbal was calibrated with the lens set to 35mm. After that at the 24/50/70/105mm there was no recalibration the motors handled perfectly the unbalanced setup. Colorgraded in Davinci Resolve with Cinelog and Ektar 100 Advanced LUT from hyalinejim 5D2 on Feiyu MG V2 gimbal

but with 7D you should not use bigger cards than 128 GB. Even with 128GB you have to dive deep into the forums to be able to install ML properly. (at 5D2 the camera cannot set the boot flag on 128 GB card, and i think the problem is the same on the 7D)

If you want rock solid performance go for Sandisk Extreme Pro card with 160MB/s. Lexar 128 1066x are fine too, there are few complains mostly about fake cards. Komputerbay is rebranded Lexar, 64GB 1000x is rock solid, 128GB is questionable. Transcend 64GB 1000x rock solid, 128GB 1000x is slow, not recommended. I have Lexar 64GB 1066x from amazon and it's working perfectly.

Where do these lines shift if you increase the saturation or you increase the contrast with knee/black gamma settings? (but every other settings remains the same)

I dont understand the first sentence if i want to fit it to your explanations in this thread. I think you should go to more simple and more agressive testing: Point your camera to the wall which has very few color and tonality. Point a desk lamp to the wall which fills the area more or less evenly. Record some footage in different picture profiles, and push the files in post. What have we done here? The scene has about 1-2 stops DR. If we compare REC709 vs SLOG2toRec709 footage in post, The image will look the same, but SLOG2toRec709 will have more color noise. If we push these images waaay further and we increase the saturation and the contrast the SLOG2toREC709 footage will have more banding and more color noise compared to REC709. But not that much more than you think. In conclusion: yes SLOG2 gives less color information and you should not film in that profile every time (if we talking about 8bit) But in real world filming the benefits of using SLOG2 is worth over it's weak spots.

You should try 50 sharpening with 0.5 radius too, i prefer this over the defailt 25 and 1. If you expose correctly the noise should not be a problem. I've run some test with underexposed and pushed clips with Davinci + Neat vs ACR vs ACR+ Neat. I think Davinci + Neat video can give better results then ACR with best available settings. But it's slower. Of course ACR + Neat is the best but the improvement is not huge but it takes ages to render. hyalinejim you are very good at colormatching. Dont you have a good tip to match Davinci's color to ACR's? I have tryied with Cinelog, but it seem like they differ from each other