Andrew Reid

  Just change one clip, copy it (CMD-C) highlight all the others on the timeline, right click, Paste Attributes, done.

Perhaps use Resolve to convert DPX to ProRes? That uses the GPU to render, so it's much faster.

Well, breaking the image before you do the downscale and convert to DNxHD is kind of a 'shit in, shit out' situation isn't it?   Try grading it after processing instead!

It isn't an image quality thing...   The different 1080p modes vary in other ways.   ALL-I for instance is easier on your computer to edit. The complex encoding for IPB is not there, just each individual frame 'as-is' one after the other like a sequence of JPEGs.   The bitrate of 200Mbit/s is higher in ALL-I just to maintain image quality, not to improve it from 100Mbit/s in IPB mode.   Because the efficiency of an ALL-I codec is lower, the data rate needs to increase.   So it is a common user misconception that image quality and bitrate have a direct correlation!   Shoot 1080p ALL-I if you need easier to edit files.   Shoot 1080p IPB if you need smaller file sizes and best quality compression.   Shoot 4K and upgrade your laptop if you want to get a clue ;)

As long as it takes to fix.   It isn't in my hands so I'm not really the one to ask.   Let's move along please, as people will use this topic to dig for info and I don't think that's fair on me.

  4x smaller bands = finer gradient.   Simple enough yeah?

  Unfortunately I'm still not allowed to spill the beans.   The announcement is delayed!   Will be worth waiting for though.

Image quality looks identical to the Sony RX10 but the higher bitrate should really help with the heavy breakup and mud I experienced with that camera. Glad to see the back of AVCHD as well.   Curious to see if moire is dealt with better this time too.   Great compact camera... Perhaps the best.   Not a DSLR / mirrorless beater due to sensor size and no interchangeable lenses but for what it is, it seems very good... love the pop up EVF!   Might be good on drones too.

They should consider doing some 4K coverage as well ;)   http://www.bbc.com/news/world-latin-america-27635908

You really think I am referring to the king of dumbness when I say there aren't many great action directors around at the moment... Oh dear.   I meant enthralling... Duncan Jones 'Source Code' was pretty good.

In touch with Sony about a A7S demo unit so wait to see if it turns the world's number 1 GH4 fanboy onto it :)

Is there any chance you can get a GH4 to play with JG and do a comparison with the C100? I'm curious to see how it performs vs that and the Ninja.   I do think the internal codec sacrifices the lows, my work-arounds are just that really... not so much a cure but a technique to try and improve it.   With an external recorder I'm curious to see what the GH4 looks like as well especially the 4K -> 1080p down convert.   I am in touch with Atomos and will be getting some demo units hopefully soon!

Stay constructive Fuzzynormal. That's clear flame bate and adds nothing to the topic at all.

Here's some of my grades with Cinema profile from the guide. Let me know if you want a complimentary copy JG.   Click for the full 4K.   As long as you expose to the right the shadows are silky smooth on the GH4.      

Also depends on the exposure. James Miller has had some nice shadows out of it  

  Yes.

I believe it refers to AFF mode. That has the spatial awareness to detect the direction an object is travelling in and whether the focus point should move forwards or backwards.   Of course if the train is coming towards the camera at 200kph I wouldn't like to be the one to find out if it tracks or not :)

  Try Master Pedestal + 15. That seems to allocate more bitrate to the shadows and stops them from crushing so much.   Then I lift the bottom of my s-curve in Premiere like Kendy Ty does with his T2i.   That gives me rich tonality and colour but with more detail in the blacks.

  Exactly, you're no expert and that's OK... But polluting my forum with misinformation is not.   10bit data from 8bit 4K... just ask Rarevision and CineForm. http://www.eoshd.com/content/12140/discovery-4k-8bit-420-panasonic-gh4-converts-1080p-10bit-444   This is something which applies equally to both the A7S and GH4 but the GH4 does it internally, and steps up to 10bit externally... that's 10bit colour and not just 10bit luma.   It isn't about pixel peeping it's about getting the facts straight!

I did find The Dark Knight incoherent. It seems the editing took too many liberties. Didn't stop it from being Oscar nominated for Best Film Editing though.   Personally I think the OP video has a lot of good points in it... There are times when you need that spatial awareness in the edit, and good action sequences is one such time. There actually doesn't seem to be many great action directors & editors around at the moment. All the films which should be really entertaining, enthralling action films seem to have turned into expensive stage plays with the emphasis on po-faced photo-realism and characters so deep you can't understand them.

A good idea Greg. Custom scores would be a lot of work and it takes a long time to come up with good material (most bands take 3 years to record a 10 track LP) but to get an idea of what people want could be useful and indeed they may have something which already matches it or can be slightly re-worked to match the request.

The official EOSHD sticky topic for GH4 users.

The mysterious 5D Mark III hardware hack is a load of bullshit.   In the the last decade just about the only hardware hack which was viable was to tap uncompressed video off the DVX100.   Completely replacing the main board in a DSLR with a non-Canon part isn't feasible. Just to get everything working as a stills camera would require so much inside knowledge of Canon's proprietary systems and Canon would definitely sue them out of existence if they tried.   Chalk that one up to bored Canon users dreaming of meaningful upgrades!

Contrast is important to the image in many ways, colour especially. My flat profile is also in the book though. So you have the choice... especially in post.

I find Sony boost the red channel in all their cameras at the expense of blue, possibly accuracy in greens can be lacking too.   My Sony RX1 stills camera for instance is extremely harsh for portrait shots, it really does make people look ill, with red bags under their eyes, magnifies any imperfection, gives blotchy redness and spottiness to faces... You have to desaturate the red channel massively afterwards. Not good.   This is where Canon are much stronger. Panasonic takes a bit more work but it gets there.