Volumetrik

I can live with the promised 4K60 APS-C crop, but the lack of internal 10-bit is absolutely disappointing. I could even do without internal N-Log if the 10-bit internal had a flat picture profile. I still cannot believe it. Nikon lenses looks superb, ergos are nice and they introduced the new batteries with improved autofocus, but somehow lack 10-bit internal ?! Geeez

Thank you ! I love this camera. Ok so following feedback I got from the magic lantern forum, I did another test. This time, I am testing the highlight detail retention capabilities of different bit depths. First the variables : Canon 5D Mark II 2.1.2 w/94k actuations Canon 35mm F/2 IS VAF 5D2 AA Filter SanDisk ExtremePro 32Gb UDMA 7 160MB/s CF card magiclantern-crop_rec-3k_Updated_Center_4.20pm-5D2-eXperimental.2019Nov14.5D2212 from Reddeercity 100 ISO 1866 x 1044 1.00x Crop @ 23.976 fps 1/50s Methodology : I started with a very over-exposed sky and brought down the exposure by 1/3 ev using the aperture. Test starts at f/6.4 and using the raw zebras as mentioned in the thread. I then pulled back two settings in ACR, exposure and Highlights. Exposure is brought down relatively to the aperture setting so that the resulting image is the same exposure across the board. Highlights are always pulled back @ -100. I did two rounds, first at 10-bit and the second at 14-bit. Something that I encountered however during the recording is that the RAW zebras did not show while recording 10-bit footage. They were displaying fine while looking at live-view without recording, but as soon as I started recording, the zebras turned standard. Here is what I am talking about. First image is while recording 14-bit, second while recording 10-bit. Here is a reference picture of the scene I made with my iPhone 7 Plus : Onto the test itself. Here is the 14-bit : And here is the 10-bit : Don't forget that you can click on these images to view in full resolution. Can you tell the difference ? 😛 Here are all my files from the test, DNG's, xmp profiles created in ACR, PSD files, exported JPEGs and everything in between. Conclusion : It seems that both 14-bit and 10-bit depths handle high exposure detail very, very well. Both can be ''metered'' about the same for the highlights. From what I can tell, we lose detail in the clouds at f/6.4 and f/7. We start seeing consistent detail in the clouds at f/8. Coincidentally, f/8 is when the black bars in the RAW zebras don't appear anymore. I would conclude that using zebras for exposing and looking for an exposure just before black bars is a great way of getting all the highlight capacity of the sensor. I had trouble seeing the difference in this scene from 10-bit and 14-bit. In my eye, they both seem equal. I did not test 12-bit because the difference was marginal compared to 14-bit in the first test. The bulk of the difference that I wanted to expose is between the two extremes. This does support my hypothesis in the first test that highlight detail seems unaffected by bit depth. I also took the good exposure picture (f/8) and pushed the shadows to 100%. I looked for areas where I could see differences. Here is another example of the green cast in the shadows when pushed to the extreme (Shadows -100) : You can see what I am talking about in two places : the back of the stop sign and the window frame. In the 10-bit portion (left) you can see some green cast in the recovered shadow areas, but the cast is much less severe than the initial test. There is however much more grain. Its especially visible in the window frame section in the middle. Conclusion of the conclusion : 10-Bit seems AS GOOD AS as 14-Bit for highlight detail retention @ 100 ISO. For shadow detail when pushed up +100, 14-Bit still holds an advantage, albeit less than previously thought.

I know this is an old topic, but I wanted to see for myself the differences that full frame MLV raw video bit-rate does on the 5D2 so here is a quick test I did. First the variables : Canon 5D Mark II 2.1.2 w/94k actuations Canon 35mm F/2 IS @ F/7 VAF 5D2 AA Filter SanDisk ExtremePro 32Gb UDMA 7 160MB/s CF card magiclantern-crop_rec-3k_Updated_Center_4.20pm-5D2-eXperimental.2019Nov14.5D2212 from Reddeercity 100 ISO 1866 x 1044 1.00x Crop @ 23.976 fps 1/50s I shot the same scene with both highlights and shadows clipping so we can have a good sense of dynamic range. Using the ML spot-meter, the sky is 100%, the wall in-between the two windows is 55% and the towel is 1%. Here is an example of the ACR settings I used. I only changed two things : Highlights and Shadows First test : ACR settings : -100 Highlights & +100 Shadows : This is an extreme test, you can see banding so this is not usable footage, but a good example. Second test : ACR settings : -70 Highlights & +70 Shadows : This is the highest shadows I could push before seeing banding, so I would consider this the limit of usable footage. You can click on the images to view in full resolution. Areas to look at are the electric baseboard as it shoes the color shifting very clearly. Towel shoes the banding and the wall in between the two windows shows the effects on middle exposure (55%). Conclusion : I found that the cleanest was the 14-Bit (not surprising) compared to the two others. However, this is not a continuous setting on the 5D2 as it starts skipping frames around 24-26 seconds. The 12-Bit sounds like a good compromise as I can pretty much get it continuous with sound. It does have a very slight color shift towards green in the -100+100 test and a bit more banding visible on the towel, but in the -70+70 it looks (to my eye) 99% the same as the 14-Bit. The 10-bit is the worst of the bunch (again, not surprising) but I was very surprised at the green color shifting in the shadows. It was much more visible than I anticipated. Finally, the banding is less severe in the towel, but the green noise takes over that whole area anyways. Overall, the highlight retention of all the bit depths seem to be roughly equal, as I cannot see a difference between them. Conclusion of the conclusion : I will be using the 12-bit for 95% of shooting scenarios, especially ones where I need longer takes than 24-26 seconds. I'll use 14-Bit if I am in a low-light situation where I know I will need to pull up exposure and shadows. Finally, I'll never touch 10-bit as the color shifting is too severe for my taste. Hope you found my tests useful !

Sweet, thanks for the replies, I'll check them out !

Thank you, I'll check it out. Quite expensive for what I am doing however. I'll re-download Resolve and check it out thanks. The render for pixel motion in AE also finished and the result is quite good. It's stupid slow but the result is better than expected.

Using the program ReelSteady I can stabilize footage from the GoPro like a charm. It requires high frame rates to process the stabilization correctly, so I am generally maxing out the shutter speed at 1/480 to achieve this. Once stabilized however, the footage is super stable but lacks that 180deg motion blur. I've looked online trying to find the best way to add back motion blur, but I did not find a lot. In after effects if I use Pixel motion blur, it takes 30 minutes to render 153 frames, which is absolutely crazy long and my computer is not slow. Is there any other ways to add back motion blur on over-shuttered footage ? I've read talks about using higher-frame rate video like 60p and using the in-between frame on a 24p timeline to interpolate/estimate the motion blur, but I have not found a way to do this. Any thoughts ?

@Mike Mgee I think intelligent political discussion still has its place. However intelligent political discussion and forums don't really mix well from my experience. It can start well, but as soon as some bad apples come into the mix, it sours the discussion for everyone else. Andrew, I think what you are doing is fine. After all, it's your forum. No one here registered without knowing that you run the show, your name is on the banner after all !

GH5 with a speedbooster and the Tokina 11-16 did the same thing on the wide end. It would wobble/warp in the corners at 12-13mm (17-18mm FF). At 16mm (23mm FF eq) however, it was much more controlled.

A7SIII is going to be like Half-Life 3

I think autofocus performance will be pretty important to know ! The new fonction button would be pretty nice to see as-well !

Interesting for 30/25p 10bit. Maybe the lack of 24p is to differentiate between the G9 and GH5 ?

That whole channel is really weird. It's like a front for her adult content it seems. Mucho weird

The image quality of that lens was nice, but the focus ring has such a small rotation amount, that it makes manual focusing pretty hard. It was like 30 degrees IIRC, really short.

Man that would be a VERY exciting comparison

I've personally had good luck with Wasabi branded batteries. I had them for my GoPro hero 2, 3 and 6. Also had them on my D5300 and now in my GH5 with no problem yet. I use them with the OEM panasonic chargers however, as I don't trust the dual chargers with two charging pins. The Panasonic charger has three pins for a temp readout and slows the charging if the batteries go over temp.

I don't have experience with LUT creation in Resolve unfortunately.

DisplayCal is a great software, free and open source, plus it's more powerful than the stock softwares from Spyder and Xrite. I calibrated my display with it and did the calibration with the Spyder's stock software to compare. The software DisplayCal applies a driver level correction while the software from Spyder did like an overlay which glitched in certain applications and was visually much less accurate.