Deadcode

Storm is coming... 
SD Card writing speed hack
If you are familiar with the ML possibilities, you already know the best RAW capable cameras are those with CF card. The CF Card interface is capable of 70MB/s writing speed with 5D2, 75MB/s with 7D, and 95MB/s with 5D3.
6D / 700D which has SD interface is only capable of 40MB/s, limited by the camera and not the SD card.
Now the ML team are pumping up the SD card interface writing speed. It seems like the 40MB/s can be raised up to 70MB/s or even further.
That means the 700D will be able to record in 2520x1072 continuously
I hope they can make it stable
 

Storm is coming... 
SD Card writing speed hack
If you are familiar with the ML possibilities, you already know the best RAW capable cameras are those with CF card. The CF Card interface is capable of 70MB/s writing speed with 5D2, 75MB/s with 7D, and 95MB/s with 5D3.
6D / 700D which has SD interface is only capable of 40MB/s, limited by the camera and not the SD card.
Now the ML team are pumping up the SD card interface writing speed. It seems like the 40MB/s can be raised up to 70MB/s or even further.
That means the 700D will be able to record in 2520x1072 continuously
I hope they can make it stable
 

Storm is coming... 
SD Card writing speed hack
If you are familiar with the ML possibilities, you already know the best RAW capable cameras are those with CF card. The CF Card interface is capable of 70MB/s writing speed with 5D2, 75MB/s with 7D, and 95MB/s with 5D3.
6D / 700D which has SD interface is only capable of 40MB/s, limited by the camera and not the SD card.
Now the ML team are pumping up the SD card interface writing speed. It seems like the 40MB/s can be raised up to 70MB/s or even further.
That means the 700D will be able to record in 2520x1072 continuously
I hope they can make it stable
 

Storm is coming... 
SD Card writing speed hack
If you are familiar with the ML possibilities, you already know the best RAW capable cameras are those with CF card. The CF Card interface is capable of 70MB/s writing speed with 5D2, 75MB/s with 7D, and 95MB/s with 5D3.
6D / 700D which has SD interface is only capable of 40MB/s, limited by the camera and not the SD card.
Now the ML team are pumping up the SD card interface writing speed. It seems like the 40MB/s can be raised up to 70MB/s or even further.
That means the 700D will be able to record in 2520x1072 continuously
I hope they can make it stable
 

Super cool to see this, and hear PTA's thoughts.
 

On Digic 4 cameras the 10bit/12bit raw mode is corrupted in full sensor mode, every other image is pink. reddeercity in ml forums is working hard to solve this problem with his 5D2. In crop mode all of the cameras are working in 10/12bit, they just need a little black level adjustment with exiftool (or maybe this is solved with the last MLV DUMP?)
The secret of the 5D3 4K is not just the 10/12 bit mode but the new lossless raw compression feature. It's possibile to use 14 bit raw mode with 54% compression rate which is more effective then the 10 bit mode alone. It can be combined with 12 bit to get even smaller file sizes (or higher continous resolutions). The strange thing is with 10 bit the compression is not that effective.
The downside: the live view is unusable right now if you use compression, and the recording could stop if the image information exceeds the card's max write rate. So the efficiency  of the compression level is flexible. 3,5K continous recording is possibile if you are using higher ISO values (lower dynamic range, less steps in the highlights, more compression possibile) with the 5D3 such as ISO800+
The MLVFS just updated few weeks ago to handle to compressed raw
The compression is an original canon feature and it could work with any camera from 5D2 through 600D but it's in the alpa stage in development right now.

By 1st April 2022, I will release a hack whereby you will be able to shoot 5k RAW on you Mavic Air. 
 
I am sharing this pic. I don't know what's it's got to do with the 5k hack, but honestly, who cares.
 

Hey, I didn't get a pm to help support this April fools joke and be in on it... well... guess I'll go along anyways.
WOAH! Promising! Dang, can't believe I didn't pull the trigger way back when it was bottom dollar (but erm, well EUR). So stoked for this! Give the guy some time! What a hero.

When you create your own luts, it's always advisable to check color transitions using an image like this:

I applied your ClassicChrome lut to this, and this is what I got:

You want to see about the same smoothness as the original image, but with different colors.

I did the exact same test with a6300 SLOG2 and it was smooth before/after REC709 correction.
On your sample i can see banding on the 8 bit footage, but the bitrate is very low (16Mbps). So i would like to recreate your sequence but with Resolve > ProRes HQ, and 8 bit forced high bitrate reencode from that ProRes to h264. 
Or maybe i post my footage later

This is the correct statement.
Advanced colorgrading, VFX and working with power windows requires 10 bit source. Curves/contrast/saturation adjustments not really.
My eariler statement about the community refers to this, most of the users grading capabilites and needs are strickted to Curves/contrast/saturation adjustments. This kind of push on the image requires more bitrate then the need of higher bit depth. This is why i think most of the users dont really NEED 10 bit. If 10 bit is available it's good. But nowday it's expensive. In the future if more and more brand brings 10 bit to the table, it will be awesome. But today it's not worth it for the average user.

The main video is the dave dugdale matty scott video - unless you are doing high paid client work, in which case you will be using an alexa/red - it really doesn't mean anything. Lighting, talent, sensor, etc will be a lot more important. 10 bit gh4 is no better for it. And the GH5 is not good because it has 10 bit.  

Dave Dugdale proved me with this video that 10 bit is a fairy dust if you are a run＆ gun shooter, wedding cinematographer or you are in love with architecture cinematography. 
I have never faced banding issues with 8 bit codec, and if you are shooting with correct WB you don't have to twist your footage till it breaks. And if it breaks it's probably because of the 100Mbps bitrate and not the 8 bit...
I think for most cases 10 bit gives you just a little more advantage over 8 bit if you nail your exposure and WB.
And i have worked with BMPCC in ProRes/RAW and with 5D RAW before.
It seems like the next big think is shooting in HLG with 8bit which works perfectly fine.

I'm gonna check this link out! Never seen this, but that's exactly what I'd expect the difference to be. Subtle difference when increases bit depth, huge difference when increasing bit rate.

We are talking about the following: 
Can we upscale 1080p 8 bit footage to 4K 10 bit if our method is noise reduction and diffuse banding with grain? 
Sounds like a magic trick... or im just sceptical..
Im using this method for a while now anyway but i dont think we can talk about 10 bit color information here.

Then you should use SLOG2 - S-Gamut with the official correction LUT
Or (not) use SLOG3 - S-Gamut3.cine with official correction LUT
The problem here: if you expose properly, then you have to correct exposure before adding any of the LUT's above. With s-gamut there is a color shift from magenta to green while the exposure rises, so after the correction you may have green tint...
Or use Slog3/S-Gamut3.cine correction which not shifts with exposure, but banding may occur with slog3 on 8 bit cameras.
The best case if you are using Davinci Resolve with Color space mapping and use SLOG2 with S-Gamut3.cine > SLOG3/S-Gamut3.cine > official correction LUT
After that a little tweak on the skintones, a little hoax on the green and the blue of the sky, and BAAM, you  have the same image what filmconvert can provide :D

Maybe one day i'll do a quick comparison between Neat Video and the built in NR of Resolve. Of course in a good way, and NR with Raw footage is even more effective.
Long time ago i tested if it's better to filter noise in ACR, but it's not, Temporal NR is much more effective then spatial

Your skintones should not exposed higher then 60 IRE if you are using Cine4, otherwise it will be highly compressed, just like on your sample image.
If you are using default metering you have to underexpose about 0,66-1 stop to get proper exposure

Your skintones should not exposed higher then 60 IRE if you are using Cine4, otherwise it will be highly compressed, just like on your sample image.
If you are using default metering you have to underexpose about 0,66-1 stop to get proper exposure

Your skintones should not exposed higher then 60 IRE if you are using Cine4, otherwise it will be highly compressed, just like on your sample image.
If you are using default metering you have to underexpose about 0,66-1 stop to get proper exposure

No, you have to select the clips in the edit tab, right click, clip attributes, and switch range from "auto" to "full". After this you are able to pull back those highlights with curves or with gain

You should read the sony guide very carefully.
And if you are shooting Cine1/Cine4 dont forget to recover super whites from the 109 IRE area, otherwise you get very hars clipping... instead of smooth rolloff with the cine4

The rendering times with Neat video NR applied is very long, especially if you use it on 4K footage. With the built in NR function in Davinci Resolve studio you can have  almost same results, but with much much faster then Neat. Everything else is possible with Resolve Lite.
@Mattias Burling will you do a 2018 edition video about the 5D Raw with 4K? I loved your last one about the 5D
 
Edit: currently im testing the built in NR on underexposed a6300 iso12800 SLOG2, and the results are insane...

This is still experimental so i dont recommend yet to use it, first get used to the 14 bit processing. 10/12bit is tricky if you are not using MLVFS, the black levels are off, and the blacks going pink. 
You cannot force the DNG to show the picture profile, but there are possibilities where you can debayer in different color/log spaces. 
It doesent matter, trust me, BMDFilm is perfect starting point and you have the grading skill to get the most of it. If you have lack of knowledge in Davinci Resolve, or you want to use hyalinejim's (thanks again!!) beautiful Ektar 100 LUT then you should transform color spaces.