markr041 Posted November 4, 2016 Share Posted November 4, 2016 Shots recorded simultaneously (in camera) at 100 Mbps X AVC S and externally via HDMI by the Shogun Inferno using ProRes HQ 4K. Then the Slog2/SGamut clips were color graded with exactly the same settings and combined sequentially. Rendered in XAVC Intra, which is a 4:2:2 codec. Atomos claims that even at 8-bit, shooting in 4:2:2 rather than 4:2:0 makes a difference, and arguably the extremely high bitrate of ProRes HQ avoids the macroblocking that some claim to see from XAVC S at even 100 Mbps. This video has plenty of colors and details, including moving leaves that are hard on long GOP codecs. See any differences? Would 10-bits make any difference to these grades (see any banding)? Don Kotlos and Geoff CB 2 Quote Link to comment Share on other sites More sharing options...
Don Kotlos Posted November 4, 2016 Share Posted November 4, 2016 Thanks for the test. I can't see any obvious differences. But I also would not expect big differences with these well lit, medium contrast and relatively static scenes. It will be interesting to compare a low light scene as well since noise can be problematic with compression. Quote Link to comment Share on other sites More sharing options...
Geoff CB Posted November 4, 2016 Share Posted November 4, 2016 I've been very surprised by how well the codec holds up to a grade from my A7r II. Glad to see things like this that show I don't need to buy extra gear to get a great image, and I can just invest in a better support monitor, rather than external recorder. It may be worth it for a feature film, but for everything else it is overkill. Quote Link to comment Share on other sites More sharing options...
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