Mmmbeats

I think what people miss out here is secondary grading isolation, which also benefits from a rich data environment. I don't consider this specialised at all. Its a part of a well-rounded grading workflow. I don't end up using it for every single project, but if anybody is not using secondaries at all, well... they probably should be in my opinion.

The main advantages of ProRes over H.264 and H.265 are smoother playback and better facility for bouncing down to further generations. Its designed to work really well in a post production environment, which it does superbly in my experience. Its no surprise at all that the codecs look similar at the same data rates, in fact it is H.265 that you would expect to look the best as it is the most efficient encoder. Of course H.264 looks good at reasonable data rates. If it didn't it wouldn't have been utilised as an acquisition codec by just about every manufacturer under the sun at some point. The point is that IPB codecs are horrendous in a post environment. People are excited by ProRes 422HQ in the GH6 because, unlike the other two codecs, it is *guaranteed* to have high data rates (1.9 Gbps is what they are saying), and it will fit straight into our post workflows.

Over / under tests are not just literally about over and underexposing, they also give you information about what is happening at the various extremes of your normally exposed image. For example, if a camera performs badly in over tests with colour degradation, you can reasonably surmise it is going to have difficulty retaining highlight information in a properly exposed shot.

I noticed that as well.

I have to admit I lose track of how much ND I'm actually using with my (up to 8 stops) variable ND. It's around 4 stops back down to ISO 125 from ISO 2000. How much more would you say is required to protect highlights in the scenario you describe? A further 6 stops? I'm finding it hard to be sure.

Yes, perhaps this camera will set a trend! Personally I like to choose my f-stop, but still...

Well quite. To use this camera I think you're going to need to buy a big stopper photographers ND filter because variable ND usually looks awful at high levels.

I see that with the DR Boost enabled, but not without, which seems to validate CineD. Underexposing is going to be tricky at ISO 2000.

I hear you. Funny enough he's not the only one doing it. I've seen someone else promoting their own live dissection of the event online too. Not official though, I think they've just taken it upon themselves. It's a very meta world now don't you know? You might just have to get used to it 😉.

Why's it odd? Not my cup of tea, but i imagine some people might find the official launch a bit dry and impenetrable, so he's thrust in front to make it a bit more lively and palatable. Makes sense to me.

Actually... I'm just catching up on the rest of the thread that discusses things in more detail...

Is it not possible that Panasonic are also using a hardware solution based on the existing Dual ISO technology they have already used in the GH5S?

I think the ARRI / Canon method is basically a frame blend too. They've just done a much, much better job of marketing it!

Yes, I was just looking it up myself. I had C4K 30p at 943 mbps, so I guess the figure given is feasible. Strewth!

It's a leak / rumour / planted item. Do people think this data rate is correct - 5.7K 30p Apple ProRes 422 HQ 1.9Gbps - seems awful high!

Isn't this extremely similar to how Canon DGO (or Arri equivalent) works?

I imagine it sold pretty much as expected as it was designed to sell into an existing and identifiable market - people like me, who were interested in buying a new GH5 despite the imminent launch of the GH6.

This seems to be becoming a bit of a strategy - utilising some of the excellent shadow rendition to make up for a perceived weakness in highlight roll-off. Underexposing to retain the highlight data.

I think the point is, if you've invested in a tool for everyday delivery, can you pull out the same device (with associated lenses, accessories, etc.) when you need to jump up in quality? I appreciate your point, but not every project allows for a body hire like that.

Rumoured:

So RAW recording rumoured to be announced soon. Do people think this will be a significant upgrade? Any experience of C300iii RAW?

I think you might have some difficulty getting them to turn around their corporate policy on that basis. But you can give it a go. You just have to find the other seven people around the world that feel strongly about that particular facility.

I don't know enough about that to comment.

Ah, I see. You need at least 2 hard drives and preferably 4 (or more). The minimum recommended setup is: Drive 1 - OS and NLE Drive 2 - Project files, Scratch, & Media Cache Drive 3 - Export and Storage Some people further separate Project files and Scratch, etc.

GPU usage in Premiere is quite selective. It can help with effects, render and export, but I don't think its going to impact your playback issues much (if at all). CPU, multiple drive setup, and overall system balance are the top considerations for Premiere. Also, you will very often arrive at problems with h.264 and h.265 cut natively. Much better to proxy or transcode to an editing format such as ProRes. Even your proxies should be ProRes (or something similar like CineForm).