Andrew Reid

Peter Buck is always a good idea The video is 90% GH4 in 4K downscaled to 1080p in post and graded with Film Convert. Yeah stabilisation is the Gorilla pod. You have to be über discrete in East Berlin otherwise people get upset So no big cinema cameras for me!!!

I'm not going to dump Adobe Premiere as my editor just because it can't directly edit the MJPEG files nicely. They have to be transcoded anyway and because Resolve has the most advanced options for this and uses GPU acceleration to get the job done faster, I'm using it to convert the MJPEG to ProRes, without any banding introduced in the process! No FCPX for me I'm afraid. And this isn't a thread about the merits of various NLEs either!!

Two of the most exciting lenses for GH4 and BMPCC users at Photokina were the SLR Magic 10mm T2.1 and the Voigtlander 10mm F0.95. The SLR Magic wide angle is now available and gives you back your 24mm wide-end in 2.3x 4K mode. You could view it as an upgrade to the well regarded 12mm T1.6. Compared to the Voigtlander it has the advantage of less chromatic aberration, a stepless aperture and focus gearing designed for video use. Other than that it's hard to do a detailed comparison because the F0.95 isn't out yet! I put the lens through its paces in Berlin and here are the results. Read the full review

So just to confirm, the 3FF-W is 695 inc. VAT and shipping? What is the lead time on deliveries?

Yes. Yes.

Why use FCPX when we have Resolve 11 Lite for free? makes no sense for me!!

Did that and it has the banding. Premiere is introducing it on export even at the highest quality setting.

Well they have a H.265 hardware chip in the PS4. Seems strange to go to the expense of putting one in the A7S only to not use it and claim it overheats. So I don't believe it but never say never.

Thanks for the update Oliver. Can you turn digital sharpening off completely in-camera. Same picture profile settings like the FS700 but with S-LOG 3 or did they update them? How's rolling shutter and the 1080p slow-mo?

Some intensive tasks need to be done at the hardware level for speed reasons though. You can do anything in software that's true... but it's always slower. That's why the NX1 for example has a hardware H.265 decoder and dedicated hardware for stuff like AF object tracking. 10bit encoding is very intensive for a general purpose CPU in software. Especially a mobile ARM chip. Great approach from Nikon though, let's see how far they are willing to push it!

​So far nothing to suggest it is the gamma issue. Black levels and brightness all normal, no clipping. The banding is a different thing. Will try on Windows version of Premiere CC and see how it goes.

Click to enlarge... The left is Quicktime Player and the right is Premiere, same clip. That shadow has gone to hell!

I heard about the file renaming technique and the stream copy. Whilst I think both of you for your suggestions and effort, unfortunately the approach doesn't work. The 1D C needs to be ProRes (via Resolve) for you to edit it smoothly and for Premiere to not break the footage with a ton of banding.

What's youtube compression got to do with permits?!

Resolve uses the GPU to render to ProRes, does ffmpeg? If not then it isn't faster, and if you want to transcode only a selection of clips in the directory, you'd have to list them out one by one on the command line or move the clips to their own directory... pain in the arse!

It depends where you're shooting and what with. Small crew of 2 or 3 with small camera, very unlikely to draw attention from the authorities. Bigger crews, bigger equipment will get more questions asked. Shooting in the street you usually don't need a permit, shooting on government owned infrastructure (i.e. trains) or privately owned locations that are open to the public (i.e. building) you are more likely to need one. General rule of thumb if it is non-commercial work is just go and shoot and see what you can get away with. What's the worst that can happen if you're sensible about it?!

Your logic is impeccable sanveer. Let's apply it to the real world. As long as it looks good, doesn't matter if it's shot on an USB webcam. Happy shooting... upload the results tomorrow. And no cheating...

First shot, 1D C in Premiere, exported to 4K TIFF frame, converted to 1080p JPEG in Photoshop for the web Second shot (below), 1D C in Resolve, exported to ProRes. Then into Premiere, 4K TIFF to 1080p JPEG same as above. Even without looking at the 4K version you can tell the difference, so will apply to final Vimeo upload and how the mass audience sees your material...

Resolve seems to be the answer. It handles the 4K MJPEGs properly, converts in realtime to ProRes and the files then display correctly in Premiere and are fluidly editable. Difference is marked. Blog soon. I think this same trick can be applied to other cameras like the NX1. Will test. Seems we have not been doing them justice by using Adobe software. It's bad. Very bad for them to not have fixed this yet.

Found a fix and it's even more astonishing. 1D C uses the ITU 601 decoding matrix (not more common HD rec.709) and luma is 0-255 full range, not broadcast safe range of 16-235. Transcoding in 5DtoRGB to a luminance range of 16-235 fixes the problem. Premiere is definitely not supposed to screw your 0-255 footage like this. In the fast colour corrector you can simulate 16-235 from 0-255 by changing the input range to those figures. The banding remains. So import a 16-235 file and it's fine, but the problem now is that the dynamic range is reduced because 0-255 isn't remapped to 16-235, it's clipped instead. Here's my theory as to what Premiere is up to - I think it's trying to do some dodgy remapping of 0-255 footage to the broadcast standard of 16-235 and giving us banding on a ton of 8bit cameras. Not good!!

10bit requires hardware support and won't be possible. Best to focus on petitioning them for software features like focus magnification whilst recording, good high res peaking in live-view and whilst recording, and the higher bitrates of course.

Could this problem - http://philipbloom.net/2013/02/03/canon-1dc-mjpeg-compression/ Actually be this? https://forums.adobe.com/thread/1119755 It seems to me like the infamous 8bit banding we see with some cameras actually... shock horror... not the fault of 8bit OR the camera, but a bug in Adobe Premiere. Scaling for retina displays and other forms of display driver funkiness can also cause banding. So I got my Samsung 4K display out and tried playing back the file 1D C 4K MJPEG file in Quicktime at the native res (no scaling). To my astonishment the banding vanished. Just a bit of blocky noise and that's it. Looks even better in VLC Player with a fine noise grain over it applied in the player settings. Here's an exported frame in TIFF format and a screen shot of the same file in Quicktime Player at native 4K res on my Samsung display. Pretty big difference!! http://www.eoshd.com/uploads/1dc-premiere.zip Nothing special just a very shoddy test shot But 2 thirds of the frame are gentle gradients so great to test with. As you can see the output of the file in Quicktime is much smoother than in Premiere which has the discoloured banding every other 1D C user reports. So... what's the cause? And why the hell can't Adobe test their products properly? Going to switch to Resolve for editing if they don't fix it. It may have effected my other cameras too, like the NX1, so quite serious. The problem is on both the exported video and the Premiere timeline at 100%. Really need to find a fix. The video preview settings for the sequence don't change it, neither does swapping between CUDA, OpenCL and software for the mercury playback engine. Tried a lot of other settings too but no good!

Lovely guy. He bought my GH4 Shooter's Guide last month

That's insane. Blanket 20%+ sales tax on virtually everything in the UK and Europe for virtually everyone. No wonder our economy is screwed

New design looks good John. What about availability and pricing? Cheers