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By John Matthews · Posted
This would also explain why Panasonic doesn't offer any 4:2:2 in H.265, only H.264. I think when the Canon R5 came out, many were complaining how uneditable the footage was because it used H.265 and 4:2:2. With the S5ii, I think Panasonic wanted to avoid that. They really seem to be paying attention to professionals. Are you interested in the Frame.IO feature? You can tell a difference if you pixel-peep to 200-600% and A/B the images. I've also noticed a slight color shift too. There are also a few artefacts, but it's still 5.9k downsampled to 1080p 10 bit- not bad. If you slap on a touch of sharpening, no normal view could tell the difference and you have something that would be 5% the size of a 6k image. Thinking of the crop, I think the more interesting EOIS setting is 25fps FF with the 1.43x crop and that 10-18 Sigma. That's the one I'd like to try. -
AFAIK, the GPU in the 'Ice Lake' CPUs has hardware decoding for up to 10-bit 4:2:0 HEVC i.e. 'Main 10' profile, assuming you have a Retina MacBook Air - https://en.wikipedia.org/wiki/MacBook_Air_(Intel-based)#Retina_(2018–2020) Any higher HEVC profile e.g. 10-bit 4:2:2 has to use software decoding on those machines. Not surprised. I often upload stuff to YouTube as 4k 50p using HEVC at 15-30 Mbps (using 'constant quality factor' encoding). I used to use higher bitrates, but decided it wasn't worth the extra storage space/upload time. HEVC is generally a very efficient (quality versus bitrate) compression codec. -
I tend to agree. I associate green/brown with Sony and you’re saying that more magenta (canon?) images can be had in Sony? Simple correction in camera white balance? Or only in post? Maybe a 1/4 black mist? 1/8 may be better? Makes it look less sharp maybe - I fear existential crisis but like c70 colors lol. -
I know what antics make me begin to shy away from posting on this forum. For sure we are not a pro forum per se but pro answers have been given to us by our forum members and friends over the course of over a decade! Some of kyes post are indeed pro territory and are very worth of reading, even for people who know already one thing or two about some of his topics. In that the info is not only relevant but also very approachable. I remember the times, when I was just reading the awesome content of this place and I remember the great joy it gave me when I have finally become a member. I was very grateful. Just lately I have begun to lose my temper about some of the nonsense and attitude presented here. For sure we are not a pro forum, but on a "real" pro forum like cinematography.com ever repeating same questions by would result in a rather spicy and well deserved reply. @mercer I also like the grade and I found the grade to the point, being natural and not drawing attention to itself but showing the quality of the footage. @ac6000cw I find your example very harsh in contrast relations of certain tones and also in regard of saturation relations between some of the tones, like they are emitting light themselves. Just saying:) -
By John Matthews · Posted
According to this video I saw a few days ago, the APS-C 4k 50fps with EOIS High enabled gives a whopping 2.08x crop; a 24mm becomes about a 50mm in terms of field of view. Maybe I'm wrong, but the S5/ii/x doesn't seem to be the best camera for 50fps shooting. It should also be noted that the video compares the full resolution 4k/6k to the 12mbps HEVC files and I'll be damed if I can tell the difference on my M1 iMac in full screen Youtube mode (4.5K). I've even played around with the 6mbps files and they didn't seem that degraded. I even tried doing some simple edits on my 2020 Intel Macbook Air i3 and it whipped right through them. The grade wasn't that heavy, but still. I think the Intel Air i3 must have some sort of hardware for that though.
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