bunk

I was and am. But grading, any grading, is not why macroblocking turns up. With some effort you can quantize colors but that's not macro blocking. Two more samples from Neumann. Once you see it you can not unsee it. Could be that there is a bug with AWB. Maybe someone can test it out. If so then Panasonic should fix it pronto as it's there since Vlog was released for the GH4.

What 'liberties' did Neumann or Pampuri take to create macro blocking? All they did was share ungraded ooc footage.

Auto white balans is at fault for the skin going from yellow to pink in a couple of frames (from what I read in the comments, my french is not that good). ….But is it also the cause of a terrible (here slightly exaggerated by adding too much saturation) skin disease? Doesn't look to good to me. And it's not just skin that is plagued by macro blocking. Saw it in the Neumann footage as well.

The vid looks very nice. I wonder what you think about the footage. Emmanuel Pampuri is so kind to share the ooc on vimeo. "If you want to test to grade the V-log footage you can DL it from my vimeo https://vimeo.com/204662860" The pale grade of the skin is for a reason. Reminds me of the first GH4 Vlog footage Nick Driftwood shared a couple of years back.

16bit tiff can hold all color information of a raw file since that is either a 12 or a 14 bit file. The camera info that comes tagged with a raw file will not be saved to a tiff file as far as I know.

According to bhp the xc10 has a 8 blade iris diaphragm ...I count 10 in the video.

Night for day on Luke in the snow, works pretty nice thanks to the low light (reflector?) in front of him.

There is either a lot of NR going on or the compression is at fault, but a lot of detail is missing ...especially noticable on the skin (subjective as I wouldn't recognise it on a wall). The screenshots are taken from frames were some detail was still visible. It's not kinefinity but it's a joy to grade nevertheless. If possible I really would like to see how CineD is behaving.

@ Luke neumann. Could you do us a favor and shoot some cineD 30fps (all settings at zero, if possible NR -5) in 10 bit. Your face or your wifes face, nothing fancy something really simple like a snapshot. thanks!

Now that was a great tip. It actually works ....and no need to downscale. Same CC as above slightly adjusted levels. Same... same CC + slightly over the top color grade. Same color grade node applied to seattle... I'm really impressed by the internal 10 bit Vlog. It can only mean that Cine D will be great. What stands out the most for me is the beautifull grain, almost BM-like. Gone are the days of fluffy grain clouds dancing all over the place ...at least if this is an indication.

Some more waterfall and snow (boring). Wish someone who is able to open the 10 bit footage was kind enough to share a frame or two, so others who can't open the footage can give it a shot as well. Below one and the same CC + slight adjustment of the blue channel

GH5, one frame from 'SnowHandHeld' by neumann, converted to 16bit tiff. Since everyone can open the 8 bit files from the GH5 it only serves as an example to everyone who can open the 10bit footage -shared by Neumann with the world- to show how easy it is to just share a frame with others who can't open it. snow_frame00216587.tif

Anyone willing to share the 10 bit versions with those of us who can't open them. Just a couple of frames saved to proresHQ or one frame per clip saved as a PNG will do. thanks in advance.

Hi Zak, thanks for the reply. I tried to open them with VLC but I get some grey background with bits of noise. Sound seems to play fine, sounds like wind. I think Luke transcoded them into some codec my Mac doesn't support, as I never had any problems opening files from my GH4. I'm already happy with the files I could open. Cheers.

Thanks for sharing. I'm on a Mac I can open the 60p waterfall Handheld and the 60p Snow Handheld. For some reason I can't open the 30p Perpetua Dolly, 30p Sunset Handheld and the 24p Seattle Handheld. Can't get them to open in Davinci 12.5 and they crash AE 5.5 Any codec I should download to be able to open them? Thanks.

My guess is: artist playing guitar gh4 Nice video btw

Color looks fine to me ...the balance of the sound on the other hand not so. No idea what the girll was talking about, the music is way to loud to my ears.

What would help is if you advance the sound track some four frames. I downloaded the 720 version and it helped imo. The cut's should fall in place where you feel the beat ...not where the beat is. For the same reason the trompets feel out of sync when your brother turns his head. It's out of sync and you will never get in in sync as it doesn't match, although they idea is good. What you can do is make the cut on the trumpets starting with this frame↓ and it "feels" as if your brother turned his head on the beat. my 2 cents

Apart from how you want to place the filter inside the speedbooster (sillyputty comes to mind) and keep it there, I think you will reduce the effectiveness of the filter significant. The APS-C lens through a speedbooster will pass almost all light to the m4/3 sensor and thus in effect use the complete filter diameter of 72 mm. The effective diameter of the lens inside the speedbooster is only 32mm. That's trashing a lot of filter. Just something to consider.

Why don't you go over to the site of JCS. http://brightland.com/w/the-full-frame-look-is-a-myth-heres-how-to-prove-it-for-yourself/ He used the A7S and a zoomlens to produce a fullframe shot and a APS-C shot. So no difference in sensor and no difference in lens. I'm looking forward to the difference in aesthetics you are going to point out from that one example. A real world example.

I remember Northrup being ridiculed here on this forum. JCS was the one who came to his “defense” and made the article he linked to in his post one page back. It’s simple math, it’s how things work. It’s not a coincident that Houdini, Max, Maya, SoftImage, Modo, Lightwave, Blender, you name them all will give the same outcome when you set up a camera test. They all use the same math from the beginning of 3D time. Hollywood uses it to produces blockbusters. The test I made was completely clean but you can add distortion to mimic specific lenses and maybe even sensors (wouldn’t surprise me). I’m not a lens specialist but I don’t think a 25mm F0.7 exists in the real world, yet I used it in the example above. But that is not the issue here. The question was what are the full frame aesthetics compared to the others. And they answer should be the technical limitations we have to deal with in every day live. But those will be solved and when that happens, the answer is none. Then the believers will start to point out the differences in characteristics of lenses and or sensors but like Gatopardo said they are there between FF lenses and sensors as well …and since there will be more computer generated lenses within time than vintage lenses, those differences will fade as they will all give the same dull characteristics and you won't be able to tell what camera or lens was used ...and I'm talking about consumer cameras as this is a consumer forum.

In Cinema 4D I set up 2 cams. A FullFrame Camera driving a Crop camera. I used releas 13 which is from around 2010, way before the whole Northrup discussion The Xpresso above is based on Crop x Focal Lenght, Crop x Aperture and (crop)squared x Iso. Resulting in for instance the properties below. Three different points of view. 2 x a 50mm f1.4 and 1x 105 mm f2.8 lens in FF You can check them in Photoshop, or better render them out yourself (file attached, Download the demo) but I'm pretty sure they are to the pixel precise. Let me know how to contact you so I can give you my Paypal info. CinemaFile.zip

Thanks for sharing. It's incredible strong footage, you just have to look at the histogram. Even after torturing it doesn't fall apart. It's almost a punishment to get back to GH4 footage after playing what comes from the terra. Luckilly the BMPCC gives a bit of the terra feel

If memory serves me right you use the metabones bmpcc speedbooster. The video compares the metabones m4/3 speed booster to the metabones bmpcc speedbooster. His metabones m4/3 speedbooster has the weird issue.

First thing I did, when I got the lens, was open it up at the backside. The contact unit got fixated over the years so I had to use some force to loosen it. Apparently it was just a little bit too much force as the flex cable running to the motor snapped in two. As I never use AF, it was not a problem. So yes it once was a AF-D. I have no experience with Tokina lenses but really like the Nikons thus far.