Orangenz

2 hours ago, buggz said:

Which card is this?

I current use a Lexar 2000X in my GH4, and have a GH5 on it's way to me, so, I need a new card, or so I've read...

Thanks, I wil look this up.

SuggestionofMotion on facebook is investigating some of those sort of things atm. 

7 hours ago, jonpais said:

But... I've been shooting ETTR with highlights set at 100% now for a while, and I'm not seeing the bizarre tonal changes or clipping some here are referring to. What I am seeing though are a lot of videos here exposed to the left with very limited dynamic range. 

Yes, same here for the last 3 years. Clipping occurs at 100% so easy to avoid with zebras at that setting. A good starting off point. The GH4 in particular was very noisy in the shadows so lifting as high as possible without clipping was invariably the way to go. But as they say, you pays your money and makes your choice. Horses and water and all that stuff.

On 2017-5-29 at 3:19 AM, buggz said:

GH5 on the way to me now...

Is there an L-bracket for the GH5 yet, I cannot seem to find one.

 

wooden camera? 

So when do you white balance to the white panel on the left? Isn't that first? 

Just now, jonpais said:

You must be psychotic. ? Because my very next test was going to try out some combination of the two.

I'm pretty sure the word is telepathetic. It looks to me like a really nice base to add luts and looks to. Or maybe after the colour royale thing.

60% Vision 6 for this. Winter morning rugby. AWD is probably easier with less crazy colours around outside. 

This is the first picture, white balance to card, then leeming cineD lut added. It brightens it a lot. Wonder what the colour checker thing would do now. 

1 minute ago, jonpais said:

I'm working on another vlog at the moment, comparing the results of using the camera's presets, custom white balance (white balancing straight off the card using the camera's auto feature) and manually white balancing, among a bunch of other related and unrelated stuff as per usual. ?

I can just see you walking around ripping your dark shirt open every so often to white balance off the white one. Hmmm, that guy.

1 hour ago, jonpais said:

Right, that's one reason I don't use AWB - the color will change even when you don't notice the light changing at all. Perhaps one of the presets? Cloudy, shady, sunny?

Was just wondering what it would look like white balanced straight off the card from the first cineD pic.

37 minutes ago, jonpais said:

Practically every single serious filmmaking site scoffs at AWB and strongly encourages manually white balancing. But it takes me as long as a minute to manually white balance a shot, and even then, after all my efforts, my colors are still off. I'm wondering now whether it might not be a better use of my time to simply shoot using AWB and include a couple seconds at the beginning of my clips holding the ColorChecker, then let the software work its magic in FCP, rather than getting my panties all in a bunch. What do you think?

I think Andrew has said in his own lut material that AWB on the panasonics is good. And not so much for Sony. Last piccy is rully rully nice

28 minutes ago, fuzzynormal said:

Better, I think, to turn to a set collection of "kelvins" to use.

3200, 5600, something a little cooler, something a little warmer.

AWB will drift and adjust as a shot changes.  

The normal practise for Sony cameras I'm afraid. 

40 minutes ago, jonpais said:

Here's a comparison between the Leeming LUT and the X-Rite ColorChecker, Color Finale in FCPX. 1) original clip 2) Leeming LUT 3) Color Match in Color Finale with slight luminance adjustment and color adjustments. Using the X-Rite and Color Finale in FCPX gets me close to the color I want in just seconds.

 

 

 

 

3rd piccy missing?

9 minutes ago, bunk said:

Thanks, way more clear now ...but you also wrote this

...and I always wondered how that is even possible as the LUT doesn't have a clue what lens or lens combination in the case of a speedbooster I used.

 

Theoretically people can't clap their hands and yet in practise most of us can. How is it possible to see things when I open my eyes? I don't know! But BOOM there the world is. The LUT is a tool and many people have found it useful. That's all. It's not like it's homeopathy or something. 

18 hours ago, Chooboo said:

Hi Guys, 

Got my Panasonic GH5 and im very happy with it but came across this quirk the other day. When setting it to MP4 LPCM mode and selecting 8Bit 4K at 25fps (PAL) for some reason the camera goes into MF mode only? I can't select AFC or AFS/AFF even when using the focus lever just stays if MF mode. Is this something that can be turned off? or just a feature of the camera? 

At first I thought it was a 4K thing whereby the camera couldn't handle it but when switching to 10bit 4K is seems to enabled just fine?!?! 

I dont know if im missing something or if its a qurik of the system of the camera is broken? 

Any light on the subject would be most welcome, or would be good to compare notes with other GH5 users. 

many thanks

Chooboo

Does your lens have a MF switch?

Some lovely 4k 50p Atomos material here 

19 minutes ago, tonysss said:

i have Mac Retina, FCPX, and camera mostly Auto WB.

Well your point about everything being dark and radioactive makes it sound like u little crazy lol. Shoot some cine-d, follow the shooting and setup instructions, take some tif frame exports, post them here. 

19 hours ago, tonysss said:

Master Pedestal +5

i.dynamic - standard

i.resolution - OFF

Luminance level 16-235

Photo style: NATURAL 0,-5,-5,-2,0

And important -  AWB adjust. A:6 !!!

----

I really like the colour from Natural, but I think it is for low contrast situations and has less dynamic range and lower saturation than other profiles. Reduced luminance will make high contrast situations worse for natural. Master Pedestal is for matching different cameras. Changing it will also reduce your available dynamic range. Reducing saturation in natural profile is not ideal. 

As @hyalinejim suggests the Leeming Lut One for Cine-D gives you a starting point for any grade or tweaks that is really solid. It also fixes the black and shadow areas without touching the masterped.

Three questions would be

how do you do white balance (auto is ok)

are you using a calibrated monitor - eg. spyder5

and how do you play back files (in browser, vlc, other players) and if you take a tiff frame export from your timeline does it look the same as what you see in the video viewers.

4 hours ago, hyalinejim said:

Http://www.eoshd.com/comments/topic/24249-adobe-breaks-gh5-10bit-import-for-pc-solution-inside/?do=findComment&comment=193617  

Yup. Either use the tool to rewrap (not transcode) or just set camera to reduced luminance values. The codec edits fine for me in premiere on pc.

10 bit GH5 is very handy for the greenscreen. Pana 25mm 1.7 is very good (there's a 1.4 version that's a bit pricier), as is the 42.5 1.7 that Jon mentioned. Samyang sometimes sell as Rokinon. 

3 hours ago, mercer said:

The whole first half of the video went over the calculations in graphic detail. Now maybe that is fuzzy math, as I said, I am no expert in compression, but that math seems awfully similar to the math used to negate the benefit of high bitrate all-i in the GH4 and GH3 before it and it was treated as gospel if I recall.

But also, let's be honest here... the GH5 is not as good as a Red or an Alexa... it is merely the best sub $2000 camera ever created and I am sure there will be AMAZING work produced with it... that should be enough. 

First half of what video? I made extensive comments on a video where he tried to show simple colour banding in a scene with no simple colours. So again, vlog 8bit = bad (banding, magenta blobs), vlog 10bit = good (beautiful). If you get banding and other problems with your 8 bit footage then 10bit can fix it. If you don't get banding and other problems with your 8 bit scene then how is 10 bit going to fix it? Are you working without vlog atm? 

Let's be honest here, in some ways the GH5 is as good as a RED. Basic IQ is one. This isn't an iphone we're talking about here. DR, ease of codec use (a standard since forever), intraframe - that's why people spend the big bucks.

3 minutes ago, mercer said:

Honestly, I am not versed in the intricacies of compression and I am totally out of my depth here, but mjpeg may be inefficient but it still is a solid codec that edits easily with good motion cadence.

I am curious about the 8bit vs. 10bit argument as well and I am eager to see the high bitrate firmware update... as I said earlier, I think it could be epic. We will see. 

Better motion cadence will be relevant to the intraframe codec. 

42 minutes ago, mercer said:

Countless people used the same math to argue against the benefit of high bitrate all-i on the GH4 and GH3 before it... why is that math no longer valid?

And just because Wolfcrow is not supporting the narrative you want to believe doesn't negate the dozens of tutorials and contributions the man has given the video community over the years. 

If you think everything is just an opinion then don't bother making one yourself. If you say that I'm wrong then give evidence to counter my evidence. I'm interested in truth and WC plainly ignores it and he didn't use math. People can have opinions but they need to be based on facts and a good experimental process that accurately describes and tests reality. "He has posted other stuff" is not an argument. 

7 hours ago, mercer said:

Well, I guess 10bit is great either way, how could it not be? Wolfcrow knows his stuff, so even if we can't realize the true benefit of 10bit with the compression occurring, there are still basic advantages that are much easily obtained because of it...

Now I'm just debating myself...?

Sorry if I'm not recognising sarcasm here or not, but Wolfcrow clearly doesn't know stuff at all. He essentially just made stuff up. His testing is on the level of shooting a crinkly sheet in the dark and some smooth talking rubbish over the top. And some of his most vocal proponents on youtube are, strangely enough, 0 video/ 0 subscriber accounts but with massive playlists. This complaint about compression limiting the quality is nuts when you can intercut with red without any difference showing and doesn't show an understanding of the codec itself. The MLessons comparison with 6500 video is also enough. 

4 minutes ago, jonpais said:

Whose main gripe? You mean the $800 Panasonic cards aren't suitable for 4K?

No, I mean the store opinion of the Lexar cards, that I was passing along. If someone wants to buy me an NZ$800 panasonic card they are more than welcome!

The local store sells Lexar and Sandisk (and those lovely Panasonic ones I took a picture of). Their main gripe is their very slow min write speed and recommend against them for 4k recording or in Sony cameras at all. Bit of a "I said they said" kind of post from me sorry  

1 minute ago, jonpais said:

I tried really hard to watch some of Wolfcrow's previous videos, but they just put me to sleep.

I bit the bullet and tried that one. I also made use of the 150% speed function.

On 2017-5-23 at 7:07 AM, funkyou86 said:

The best GH5 review out there. Wolfcrow did a great job.

Good looking is not the same as good job. No I'm not going to watch it. His previous video trying to compare 8 to 10bit was not good. My comments on that one:

Quote

1. His banding test was completely wrong. He has completely the wrong idea about what kind of test he needs to be running, which is a leniency test, not an adobe extreme test. All codecs break down eventually. It looks like he just went and found a setting that did that.

2. He spends a lot of the time talking about irrelevant topics and states that.

3. His chroma key test showed a huge difference and he dismisses it with "you can use neat video to make up for this."

4. He claims editors have difficulty playing the 150Mbps files which sounds like he has a hardware problem that he needs to get sorted. I can play 8 such files at the same time on the Adobe timeline from a slow HDD without problem.

5. The dismissal of using the 150Mbps codec also affects the 4k 50/60p files from the GH5. So he is basically arguing to not use the GH5.

6. His scene selection for the first test was just bizarre. What kind of scenes get the most affected by banding?

7. In his green screen test he admits not lighting his screen properly.

Conclusion: Doesn't tell us of any value about the GH5 and makes completely unjustified conclusion on the basis of his own test.