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deezid

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Everything posted by deezid

  1. https://www.dropbox.com/sh/6yh66zg7yu17p6y/AAA9Ic6JZott_BMNRbKXOupra?dl=0&fbclid=IwAR1Pg4u_t9yfEY5APezn3ZVoFSjvPDejm_0NAQo1NoaKEBbTWKIZD_fYs3k Clip 303. No, didn't use any 8 bit process - only the "32-bit" ones. Also importing the ProRes clips into Premiere I created in Xmedia Recode still doesn't help either - while in Resolve everything is fine.
  2. It's basically the same, used the same adjustment layer. You can clearly see the artifacts around the "gradients" though which don't appear in Resolve
  3. Depends on the decoder/encoder used to convert it to ProRes. If you use Media Encoder from Adobe you'll run into the same issues. Already tried converting to ProRes using ME and Max Bitdepth. Same issues. You can use Xmedia Recode to convert to ProRes https://www.xmedia-recode.de/download.php Quality is virtually identical to the internal decoders in Resolve. Set output to Quicktime MOV Codec to Apple ProRes Profile: ProRes 422 HQ Audio to copy
  4. Free version doesn't decode 10 bit H264/H265 footage. Here's a screenshot with some extreme "corrections". It looks even worse in motion.
  5. Workflow Premiere Put GH5/S1H footage into Premiere Apply curve or lut or whatever you like in Lumetri footage breaks apart, macro blocking and banding Workflow Resolve Put GH5/S1H footage into Resolve Apply curve or lut or whatever you like footage looks fantastic Apply even more corrections footage still looks fantastic All the complaints that have been made about the GH5 or S1H having banding issues were made by Premiere users like Wolfcrow or Cinema5D in the past. It is not a camera issue. Panasonic (and Fuji, Z-Cam and probably others using H264 and H265 in 10 bit) really should start putting out warnings about Premiere.
  6. It's not the lut, it's the processing and decoding in premiere. It has been trash and still is. Even with nothing applied the artifacts are visible. Had to deal with that issue way too many times as a colorist receiving footage to grade from clients. Only way out is: XML and original source footage.
  7. In Premiere Add footage Add Lut and curve Footage breaks apart. Set Sequence Settings... to Max Bitdepth, no change Do the same in Resolve Footage looks amazing. Has been that way forerver and has never been fixed by Adobe although many are complaining such as Cinema5D. Here's a video showcasing the problem (download and playback using MPV, DNXHR 10 bit codec) https://drive.google.com/file/d/1x2odKIubw9K7yvTa1hIy_Op-iQz4AXrJ/view?usp=sharing
  8. Nice, but still Premiere's timeline is 8 bit and just decoding of GH5 and S1H 10 bit files makes them look like trash and even the Max Bitdepth setting in sequence settings doesn't help (anymore?). Just tried it out. Not a camera issue since the footage looks perfectly fine in Resolve. Guess which still has been made with which program
  9. Since always, it basically converts to 8 bit which causes many artifacts. Resolve doesn't do that as it works in 32 bit accuracy. Cinema5D stopped using it for that reason in 2017.
  10. Oh ok. Not compression settings. Just putting 10 bit footage into Premiere will do.
  11. No, I mean not edited. Like straigt out of camera. The actual file. The "Original" file is what you got out of your NLE.
  12. I mean I managed to break GH5 and S1H footage in Premiere quite easily, basically by inserting it into. In Resolve on the other hand I can go completely crazy and rather make macro blocking visible than banding lol
  13. In the source footage? The footage you provided was edited already.
  14. Glad you didn't see it yet. Because once you did you can't unsee it
  15. Talked about it with some engineers at IBC a few weeks ago, how it affects the image. Also in contact with some ambassadors who forwarded the samples I took with the S1 and S1H and they are aware of it. Also many ambassadors want the same option: To turn off NR entirely.
  16. It does, also motion in lower exposed areas triggers it and causes some crazy artifacting which isn't codec related. We're all waiting for a patch but at least Panasonic knows about it. Workarounds atm. Don't shoot above ISO1250 or 4000, ETTR, don't touch the 6K codecs (more noise reduction) or even avoid using V-Log which is a pity since color science and dynamic range are fantastic.
  17. What I could imagine what you mean is the strong temporal noise reduction which makes the image sometimes look artificially clean and thin and even creates smearing and ghosting in some situations. Unless we get an option to turn it off, the image won't look as thick as Varicam footage, even recorded externally which basically looks identical (tried recording onto an Odyssey 7Q+ in ProRes HQ).
  18. Hey guys, huge update for users of the 55M Advanced Lut! From now on the P4K Advanced Lut will be called PXK Advanced Lut since the new version 1.5 includes an adapted Lut (and creative Luts) for the Pocket 6K with its slightly different color and gamma. Other improvements made: more compressed skin tones, less yellow hues better handling of strong saturated blues miscellaneous fixes updated creative Luts The update has already been sent to existing customers. Promo code for the Lut (available till 10-08): 3days More info and download: http://55media.net/55m-p4k-color/
  19. deezid

    GH5 to Alexa Conversion

    Yellows and greens don't clip yet, so there's definitely room for BMD to make things worse. 😂
  20. It also will limit the tonality you would have using proper exposure. But on the other hand it will help keeping temporal noise reduction artifacts out of the image on cameras such as the A7sII/A73, S1H/S1, X-T3, E2 etc...
  21. No native lens here yet. Will try some slow motion soon
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