Lumix GH5 Downloadable Footage

[Emanuel]

Many "scientists" in disguise :-D

We are all artists after all, isn't it? Power on them, democratization follows. 10-bit 4:2:2 on budget... Comes to my mind when ML hack popped up.

[wildrym]

Luke, does the GH5 in Vlog encode superwhite (i.e. 100-109 IRE) or are the highlights clipped at 100 IRE ?

 

Thanks!

 

 

[DBounce]

Color grading is supposed to be an art-form...  not an equation. Grade to suite your story. To that point, everything that is done in the creation is there to support the story. From color grading, camera angles/movement, lens selection, background music, lighting, costume to selection of location and talent. All of it. Story telling is not science it is art. When your choices fail to support the story, that is when you fail as a filmmaker. I can say while many choose to grade these scenes as light hearted, and technically correct (read boring) I as did other choose to see them as a canvas to make something much more stylized (read interesting). I would be curious to see other attempts at grading these scenes for different genres: "SciFi", "Horror", "Drama". Because believe me they can't all look exactly the same. 

 

[Ishak Sahertian]

29 minutes ago, wildrym said:

Luke, does the GH5 in Vlog encode superwhite (i.e. 100-109 IRE) or are the highlights clipped at 100 IRE ?

 

Thanks!

 

 

It clips at 80 in the GH4 an I remember highlights also being clipped at 80 in V-Log in the DVX200, so I guess it will be similar for the GH5

[wildrym]

41 minutes ago, Ishak Sahertian said:

It clips at 80 in the GH4 an I remember highlights also being clipped at 80 in V-Log in the DVX200, so I guess it will be similar for the GH5

Thanks,

So, to my understanding, less "shades" are recorded compared to full swing, which is quite disapointing. Is it the same fore Cinegammas (Cinelike V and D) or standard profiles ?

 

[Ishak Sahertian]

@wildrym only in V-Log 

[JazzBox]

6 hours ago, Axel said:

The i5 processor doesn't use Quicksync (mpeg4 hardware de- and encoding). You should use optimized media (also for Resolve, if you plan to use that).

I don't understand why I can play and preview smoothly ProRes 422 10 bit from GH4's HDMI (recorded out to external recorder) and ProRes 10 bit from BMD Micro and Pocket and not those from GH5.

The GH5's files are all .MP4 4K, some in 24 and 30 fps, other in 60 fps. I can only preview the 60p files.

Have I to update my iMac? Excuse me for asking, but I don't understand it and I don't want to transcode etc.. because it's time consuming, I need to preview footage before importing it in NLE for editing.

Thank you  

 

[DBounce]

Here's a test grade with different moods...

 

GH5_Test_Grade.mov

[Ishak Sahertian]

6 hours ago, wildrym said:

Thanks,

So, to my understanding, less "shades" are recorded compared to full swing, which is quite disapointing

 

I don't think V-log records less "shades" than the other profiles, probably more like that everything(what the sensor is able to capture) is being compressed between 20 and 80IRE

[OliKMIA]

Here is mine. Usual Caveat, I'm not a Pro Colorist. I tried to do something balanced being light on the curve and contrast because I don't like the usual crushed black look. In terms of mood I decided to keep it on the cool side that fit the humid/snowy Seattle scene.  Constructive critics and tips are welcome. If I did something wrong, please tell me how to fix it. Thanks

 

[webrunner5]

2 hours ago, Ishak Sahertian said:

I don't think V-log records less "shades" than the other profiles, probably more like that everything(what the sensor is able to capture) is being compressed between 20 and 80IRE

True, it pulls up the shadows, and pulls down the highlights into a narrower box. Pretty much it in a nutshell.

[tugela]

I have to say that the footage you shot, and a few other clips that have been released so far from pre-release users, look very nice. The GH5 is going to be a very impressive video camera for the enthusiast by the looks of it.

[Axel]

9 hours ago, JazzBox said:

 I need to preview footage before importing it in NLE for editing.
 

I'll start with this, because it's the most important aspect of your request. Your late 2013 iMac is not considered vintage. Until July I had a 2009 MP (vintage) and it did exactly the same things my late 2015 (no newer model exists) 5k iMac does. Was just laggy with non-optimized 4k. There are two things you shouldn't confuse: performance  and the general ability to playback files. The latter may have to do with being up-to-date software-wise. That your Mac accepts ProRes 10-bit means nothing. Every Mac since 2006 plays them, my old office iMac does it. OSX (now called MacOS) monitors 10-bit as such since only recently (before, it was rendered in 10-bit, but monitored in 8-bit, you had to use 3d-party-hardware to feed a 10-bit monitor). You'd need at least El Capitan. Better update to Sierra and 10.3.1. Make a clean install, don't install Perian or old plugins. You are right, you need to preview footage before import!

9 hours ago, JazzBox said:

Have I to update my iMac? Excuse me for asking, but I don't understand it and I don't want to transcode etc.. because it's time consuming,
 

FCP X uses every trick one can think of to better your performance. You can edit 4k on an entry level MB with weak CPU and GPU by allowing those tricks. One of these tricks is optimized media. It is space-consuming (your iMac has Thunderbolt? Get external TB drives! If you only have TB1, you could by a used Pegasus raid with 8 or more TB for below 500 bucks) but not time-consuming at all. I know because I've been doing it for years. As long as you have a preview of the original codec, the transcoding runs in the background, you just notice that an hour or so later the skimmer speed improves. You can also use proxy. They have a quarter resolution (UHD becomes FHD) - a no-brainer if you don't monitor in 4k or if your export goal was FHD. And the 'workflow' is just a toggle between show proxy and show original. There is no catch. No problems have ever been reported (aside from having forgotten to switch to original/optimized prior to export, but that's not FCP X's fault).

As I've written a few pages earlier, my i7 4GHz 4GB iMac plays all files. But they are short and just a few. And frame skipping occurs (one of the said tricks to not stop playback, but no realtime in the strict sense). If I had to edit a project with hundreds of GH5 clips, I would immediately check the optimized media box or proxy. If I had limited space (I haven't: buy more!), I'd preview the clips and only copy those I needed. So don't be stubborn.

[wildrym]

6 hours ago, Ishak Sahertian said:

I don't think V-log records less "shades" than the other profiles, probably more like that everything(what the sensor is able to capture) is being compressed between 20 and 80IRE

 

4 hours ago, webrunner5 said:

True, it pulls up the shadows, and pulls down the highlights into a narrower box. Pretty much it in a nutshell.

Yes I get it, but what I mean is that instead of using almost 1024 values, it is limited to only 600ish. In 10 bit files, it is ok i guess (even though non optimal), but in 8 bit files it becomes only 160ish values. So using Vlog in 4k 60p may lead to severe banding.

In comparison here are two waveforms from a7s 4k slog2 footage. The second is the same as the first one with superwhite pulled down. Third is GH5.

As you can see, sony files use roughly IRE from 10 to 109, so approximately 230ish values in 8 bit. It 10 bit it would be 950ish values which would give better tonality than GH5 Vlog files.

That is why I find it quite disapointing (tell me if I'm wrong with my reasoning!)

 

 

 

 

[Ishak Sahertian]

@wildrym Aaah I see... No you're right, that's why it's called V-Log L, L stands for light. I read on PV some rumors that the Varicam people weren't too happy about giving a consumercamera the full flegded V-log, so now we're stuck with a half assed Log profile. I'm hoping the Hybrid Log Gamma update coming in the summer will be better optimized , eliminating the need for V-log L. 

[Ishak Sahertian]

3 hours ago, wildrym said:

As you can see, sony files use roughly IRE from 10 to 109, so approximately 230ish values in 8 bit. It 10 bit it would be 950ish values which would give better tonality than GH5 Vlog files.

remember right now the current alpha series cameras still don't output 10bit throught the HDMI only 8bit.. but that may change in the future if they decide not to pull a "canon"(by protecting their cinemaline)

[Jimmy]

Got a proper chance to play about with the files... Thanks for the upload.... There is a clear difference with the 10bit/4:2:2  and 8bit/4:2:0 files. The 10 bit can be quite heavily pushed about. Really impressed.

[JazzBox]

12 hours ago, Axel said:

I'll start with this, because it's the most important aspect of your request. Your late 2013 iMac is not considered vintage. Until July I had a 2009 MP (vintage) and it did exactly the same things my late 2015 (no newer model exists) 5k iMac does. Was just laggy with non-optimized 4k. There are two things you shouldn't confuse: performance  and the general ability to playback files. The latter may have to do with being up-to-date software-wise. That your Mac accepts ProRes 10-bit means nothing. Every Mac since 2006 plays them, my old office iMac does it. OSX (now called MacOS) monitors 10-bit as such since only recently (before, it was rendered in 10-bit, but monitored in 8-bit, you had to use 3d-party-hardware to feed a 10-bit monitor). You'd need at least El Capitan. Better update to Sierra and 10.3.1. Make a clean install, don't install Perian or old plugins. You are right, you need to preview footage before import!

FCP X uses every trick one can think of to better your performance. You can edit 4k on an entry level MB with weak CPU and GPU by allowing those tricks. One of these tricks is optimized media. It is space-consuming (your iMac has Thunderbolt? Get external TB drives! If you only have TB1, you could by a used Pegasus raid with 8 or more TB for below 500 bucks) but not time-consuming at all. I know because I've been doing it for years. As long as you have a preview of the original codec, the transcoding runs in the background, you just notice that an hour or so later the skimmer speed improves. You can also use proxy. They have a quarter resolution (UHD becomes FHD) - a no-brainer if you don't monitor in 4k or if your export goal was FHD. And the 'workflow' is just a toggle between show proxy and show original. There is no catch. No problems have ever been reported (aside from having forgotten to switch to original/optimized prior to export, but that's not FCP X's fault).

As I've written a few pages earlier, my i7 4GHz 4GB iMac plays all files. But they are short and just a few. And frame skipping occurs (one of the said tricks to not stop playback, but no realtime in the strict sense). If I had to edit a project with hundreds of GH5 clips, I would immediately check the optimized media box or proxy. If I had limited space (I haven't: buy more!), I'd preview the clips and only copy those I needed. So don't be stubborn.

Thank you very much Axel!

I'd love to install El Capitan, but App Store just give me Sierra as option and I cannot install it since I use some audio software that are not still compatible with Sierra.

Do you know where I can legally find El Capitan? Thank you and excuse me for bothering you!  

[mercer]

Took another try using Mojo 2 and added a little grain...

[mercer]

Dang it... my monitor must be messed. It looked fine on my computer but now her face looks too orange on my phone... in my narrative, Neumann's wife just went to a tanning salon before her walk in the woods...