Sage

I've got something special coming for the GH5.

You may feel differently soon

The Colorchecker Photo seems to work better with the automatic match features (and Video is great for manual)

Btw, got something neat coming up for yall

Does anyone have Studio? I can send you two tiny files

I am confident at this point that there will be a tone shift, but the contrast shift is still in question

Do 8 bit V-log files look exactly like 10 bit V-log files? Or is there a contrast & tone shift (10-bit w/ more contrast, more yellow)?

1 hour ago, Orangenz said:

Rewrap won't do that. What's your player?

Thank you for taking the time to share this workflow.

It really makes the files workable

What do you think of the new GE Reveal HD+ LEDs?

Denis Villeneuve!

Just got the camera, and found there is a little wrinkle in the workflow. The MXFs are being marked with a .9375 pixel aspect ratio in the re-wrapping of C4K files (4096x2160); this results in a slightly squeezed frame, into a 16:9 ratio. It should be a 1.896 ratio (1.0 pixel aspect ratio), and at the moment I am correcting it with 'interpret footage' in Premiere at the outset.

Have you considered FHD? The GH5 1080p is really great I gather

Also, when the time saved *creatively is factored in, the proxies are not a bad deal. You really will edit faster. With a Ryzen, I think a case could be made for rendering proxies

1 hour ago, Stab said:

Sometimes I need to make a 'same-day-edit' on a wedding shoot. This would be made from about 400 GB of all seperate GH5 clips with maybe a 2-4 hour time in duration.

Do you maybe have an indication for me about how long the transcoding would take? 

That is a tricky situation. It should be faster than realtime, but not less than half. Approximately 1.3-3 hours. Assuming no PC bottlenecks. Write to SSD (a different drive than the read), try overclocking the 3770 if its a K - they are very generous with the extra clock cycles, I run at 4.5 with a cheap 212 Evo cooler

You'll will want to edit proxies from an SSD, they are small enough to fit and will have instantaneous performance

Proxies! I know you don't want to transcode, but there is nothing like it

You edit better. Simple as that. JKL ftw

With your specs, transcode time won't be significant

Recommend: H.264, Exactly quarter resolution for C4K, or full resolution for FHD, 22mbps for quarter C4K/20mbps for FHD, 6 gop, (max render quality off) all stored on an SSD

Its often mentioned in the press that the 2nd SD slot may be used for recording proxies, but I find no mention of this in the manual. To those with the camera, is this possible?

9 hours ago, Orangenz said:

Log is set to full range Lum values in 8 or 10bit modes, not reduced. Considering the time they had the codecs from panasonic, I also think they should have been able to do a bit better.

That makes the most sense as to why its not working; that would mean that Panasonic has coded the GH5 file header to specify the wrong IRE placement, according to their own V-Log specs (or it is misread by Premiere, due to differing header format from Varicam). And it is a matter of file header ID, as the wrapping method's success reveals (explains the inconsistent handling of levels across NLEs)

10 minutes ago, Orangenz said:

You cannot change the luminance values in log mode. 

Excellent, that is what I was missing. This is even more puzzling; why wouldn't it work, given the 64-940 envelope? Adobe used to be fast with this kind of thing

1 hour ago, Orangenz said:

As Luke said elsewhere, Adobe was given the files a long time before release. In addition, the luminance setting of vlog files is set by the camera and the compressed luminance recording is on top of the full range for consistent scale. For non-log files making this change does allow import into Premiere but I don't find this particularly useful as the rewrapped files edit considerably easier and have the corrected length. 

Yes, the rewrap approach is probably the best way to go (I don't have the camera yet)

The information above, and the little discovery by Justin is of particular interest to me as I am working on a little project involving V-log mapping at the moment

That compressed luminance recording of v-log and v-log L is even beyond the 64-940 (0-100%) IRE envelope. I.E. exposure bottom* is intended to map at 128. And that is with the 64-940 envelope

Indeed; its confirmed. In this white paper:

http://pro-av.panasonic.net/en/varicam/common/pdf/VARICAM_V-Log_V-Gamut.pdf

- the values of 7.3% IRE and 61% IRE cited as corresponding to the 10-bit values of 128 & 602 respectively exactly match the 64-940 luminance level placement.

On 4/21/2017 at 1:29 AM, JustinJohnson said:

Hey Orange, I posted a response on the Adobe boards but hopefully you see this here. Check your Luminance Level in the GH5. If it's set to 64-940 or 64-1023 10 bit files work just fine. It's only when it's set to 0-1023 that I get the audio import only.

I have recorded a bunch of clips with my level set to 64-940 now and now import errors. This should be the proper setting for Premiere as I know it, it defaults to 0-1023 I believe.

I am running some more test to see if this is it.

Thanks for sharing this Justin. To further this, it looks like the 64-940 (0-100%) IRE placement matches the official Varicam specification for V-log, as shown in the graphs on this page:

http://www.slashcam.de/artikel/News/Naeheres-zum-Panasonic-GH4-V-Log-Update.html

It would make sense that it is the data arrangement that Premiere is expecting and was coded to handle previously (standard Varicam levels)

The GH5 internal codec is most definitely limited. In that 10 bit footage, I see distinct color patches in skin tone when very zoomed in. In motion, full-scale, it is not too big of a deal to me. Its 'good enough' for an internal codec. What is more concerning is distinct banding in the sky at the beginning of the footage. I have watched a lot of GH5 footage, including more 10 bit v-log footage from Pampuri where the sky *wasn't banding, so I have a theory.. Perhaps more later. I will likely purchase the camera after NAB

15 minutes ago, Alexei said:

Yes, but what about the skintones?

Lol

To be honest, I think there is enough there to really get something good. I've been playing with this 10 bit *V-log footage from Emmanuel Pampuri -

 

This was hilarious Andrew, thank you

1) Great write up Andrew, you have a talent for capturing the zeitgeist
2) Solid site redesign
++