TurboRat

The Nikon and Canon seemed to have less highlight retention then the A73, XT3, and GH5S. The A73 definitely held highlights best though by a small margin. 

It seems like the best way to see how much 10 bit makes a difference is to do a dramatic color grade across all cameras and see if the XT3 and GH5S come out on top. I have already seen comparison's between a GH5 and A7S2 with a heavy color grade and the GH5 held together significantly better. 

Personally I'm seeing a huge difference between 10 bit and 8bit. The implementation on certain cameras may need some questioning, however when implemented well it's night and day. 
The true value of 10 bit is when I'm pushing the files around in grading, 10 bit is usually much smoother, has much less artefacts and has more tonal variety. The image quality difference comes after grading. It's so apparent that I don't use 8bit that much anymore. 
There's more at play with this example (codecs, sensors), but 10 bit GH5 vs 8bit A6500 is no contest. The GH5 image pulls around nicely, looks smooth and thick, whereas the A6500 image will get easily blotchy, blocky and the colours are sometimes smeary.
Correcting white balance on the GH5 is easy, on the A6500 you might as well not bother. 
Dynamic range is better on the A6500, this is where I wish the GH5 would improve. 

On the Nikon Z7 how much difference does 10bit N-LOG make?
Is there a step up from the Canon EOS R when you record 10bit externally?
How does the Fuji X-T3 compare in F-LOG at 10bit internally?
All the questions and more I set out to answer here...
Read the full article

The new 'in Post: Cinematic Luminance' section on page 2 of the new PDF is critical, in addition to the new supplemental waveforms
Essentially, the top third of the waveform is where extreme highlights place when conforming to cinema standard luminance. The GH5 is missing the three stops on top, and EC Main/Soft really encourage correct placement of luma for the cinema when exposing for them (moderately), and have beautiful handling of harsh skin detail

This is the new V3 Linear, in context of the others (V35 for a reference):
LogC

Soft

Main

Linear

V35

@Oliver Daniel Thanks Oliver. Looking at his previous posts, I think he might be referring to luts for LogC, and was confused about what you meant
I hope people will find it worth it, and consider my own personal investment to get it to where it is today. I believe in doing free updates and personal service because I want people to have the best, and to do right by the people who put their faith in me (no matter what or how long it takes)

@Sage Re-graded with V3! I decided to try out Linear (GHa3-L ?), and tweaked the luma to compliment. Otherwise, the rest of my same grade from the 1st video is on top of GHa. I like the added contrast in this version!
 

@Sage i wanna tell you, if next year everything goes great, i'm gonna be shooting my next feature and i'm really considering using the Gh5 with your lut, a really portable and cheap Alexa!

I’ve had 3 copies of the iscomorphot 8/1.5x over the years, two with optics in fair to heavily used condition that I took apart to re-grease the helicoids...one lens that I owned was totally pristine. All lenses were soft unless taking lens is fairly heavily closed down with better performance on smaller sensors.
I found that the characteristic ‘bloom’ softness that the lens has is a limitation of the front focusing optic. It is of not of a sufficient design that was intended to resolve sharpness at wide apertures on sensors with an equivalent gate size that is larger than for 8mm film, and the relatively thin edged optic can easily create a bloom on highlights that infect the whole image...as well as some CA on high contrast edges.
On used copies of the lens, it is common for the edge blackening of that front optic to loose its black and accumulate micro scratches...resulting in even more contrast drop and apparent softening of the image. Overall, I really don’t think the lens is worthy of the ‘Baby Iscorama’ name...IMHO the smallest lens that exhibits the most comparible optic quality to an Iscorama (pre-36) - is the iscomorphot s8/2x (fixed focus). Same golden coating, zero CA and lovely balance of sharpness and defocus render. The iscomorphot (and it’s bigger non-MC brother 16/2x) are of course 2x, but they have enough of a complimentary look to the Iscorama 36/42/54 family, footage can be easily intercut when mixing lenses. The ‘baby Iscorama’ 8/1.5x however would stick out like a sore thumb in a lot of scenarios if wanting to match the look of the Iscorama clan...the sharpness and edge performance is just is not there, unless using a small aperture on the taking lens.

Between those two, for your situation, I'd take a GH5s. 240fps and lower rolling shutter are big advantages. 
FS700 is the best choice if you're not bothered by size or weight, ESPECIALLY if you're already using an Atomos.

I like this!

Another awesome update, thanks @Sage! Here's some 10-bit 60p stills showing off 1) V-Log w/ Prores PRE 2) Main 3) Linear 4) Properly white balanced Linear. Although I like the warmth of the original "sunny" WB  No luma adjustments on these! 

No, I think its still there, it just seemed to die.  I have been waiting for the update on that.  Did he have a faulty camera? Did the problem go away once he stopped down further?  I may need to bump it, because that seemed a serious issue.

Emotive Color Version 3
Core LogC Details
- Rewrote engine to work at 65x65x65, main files are now at eight times resolution (supporting files processed at that resolution)
- Fine tuned multi-pass/smoothing technique, to achieve absolute smoothness of final files
- Introduced Averaging (averaging two separate measurements/conversions of a light source)
- Corrected LogC rolloff artifact introduced with Verde
- Corrected far magenta-red artifact
Emotive Color Component Details
- Remade EC component to incorporate new Arri primaries  that were quietly revised this summer for Alexa LF release
      (much deeper, more accurate red placement in relation to blue/green, and subtle hue shifts throughout)
- Incorporated 'Sat Lock-Out", like hue lock out, that is fully accurate to saturation distribution between relative hues of Arri RGB primaries
      (corrects excessive saturation of orange/yellow/green in highlights, and under-saturation of blue in shadows)
- Significantly refined saturation model
- Unified EC for both WBs (taking a que from Arri's single R709) [Tungsten has significantly more contrast, higher ideal exposure]
- Smoother rolloff placement in EC component
- Replaced Pop with Linear (no highlight shoulder, better alternative to Arri R709)
 
- Remade all PREs with latest process (at 65, provided at 33) - much more accurate and smooth
- Entirely new PDF (and supplemental waveforms)
- Added Daylight Skintone SBS
- Updated 'Always Already' with V3 (Download 'Original File' - *Avoid watching in Firefox)

I did some test shots with the Sigma 18-35 and the Sigma 50-100 in combination with the viltrox on my P4K. As far as I can tell, the images look great. I have yet to cut it together and properly grade the shots, but they do look great for what I can tell.

I use the SIgma 18-35 and yes, I think it's a must have even just to experience it with the P4K. I have used it on a GH5 / GH5s / a6500 and the dof and sharpness and contrast is superb compared to other lenses that I used (maybe except the Voigts). I think it's gonna give great images paired since it's contrasty out of the gate plus the dof and you can add a Promist filter if you feel like it's too sharp, and an ND filter for daytime. You can always sell it if it doesnt suit you but you gotta experience it. I was also skeptical since I've used the 12-35, 35-100, 12-40, 12-60 mft zooms and images and video is just better with the Sigma 18-35 before grading and post. Of course you can get the same contrast and sharpness with other mft zooms by adding sharpening and grading in Resolve.

I'm wondering which version of the battery compartment I'm going to get when the courier finally shows up with mine now.
One of the ones where you can't get the battery out or the one where it wants to get out all on its own.

Thanks helium. I don't think its clicking into place fully. ill see what BM say about it. Im hoping that BM can send out a replacement battery door. 

So that's why Blackmagic shoots always have a gaffer on set!!!

Not yet. But I;ve seen some tests on youtube and facebook and results range from significant improvement to no improvement at all ?

Does it come with a free bit of tape to keep the battery door closed?

So I received the Pocket 4k today. yet to do proper tests but I've had a quick play and the files look decent. What surprised me the most however is that I'm able to record 4k 50p Lossless raw to my Samsung T5 500gb drive. didn't expect that. The only downside so far is the battery door. It opens by itself waaayy to often. 

I have stingers (extension cords) on every shoot I do, so I generally just run power to them. But if that's not something you're willing to do, Quasar makes tubes with built in batteries now. 

Ah, by Main I'm referring to the end in itself of Alexa color. If a film conversion route is the goal, the LogC variation is the way to go.
Main is different from LogC+R709 - its much nicer. It has the R709 primaries built in, and a film styled envelope that is often associated with Alexa color.

I am confused as heck. XT2 higher dynamic range then XT3??