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4 minutes ago, Beritar said:

This make sense now, 4k 60fps is actually a bit softer than 30. On this comparison 60fps seems sharper and noisier.

These are crops of one frames from complex motion videos. Both are adjusted the same way but the movement of water is not identical in these frames. They are not shooted with two camera rig at the exactly same time. I dont even know if the frames are i-, p or b frames. Seems that it does not make a big difference. The sharpness of 30P and 60p is generally the same. The compression makes little differences in motion/compression artifacts. 60P has less compression rubbish.

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52 minutes ago, hmcindie said:

All of those example images Vesku is giving look really bad, 30p or 60p. Like both shots look horrible. What kind of processing are you doing man?

Those are very small portions of frame enlarged and tortured to see the difference. The GH5 codec especially 4k 60P are so good that it is difficult to find compression faults without heavy treatment.

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You guys are hard. 

Vesku is uploading some images and shows a comparison all you have to say is that it is horrible and manipulated. 
I see no issue that he sharpened both images.  Thank for uploading. 
On my side I cannot see a difference between 30p and 60p on the images which I think is positive since I would expect the 30p cleaner given bitrates. 

 

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2 hours ago, jonpais said:

@buggz Once my update of FCP X is finished installing, I'll see if I can't compare Driftwood's LUT to Leeming's and share the results here, unless there's already one online somewhere.

Would love to see your results. My GH5 just arrived yesterday, couldnt resist anymore :)

BTW: Leeming LUT suggest to set the Luminance Level to 0-1023, yet when HLG is chosen, it automatically changes to sth like 64-940, also the manual confirms that. 

About ETTR, I have set the Zebras to 90% according to Leeming LUT, so if I get it the right way you crank the exposure all the way up until clipping starts to appear? If yes, why do you need the histogram as well, as suggested?

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Wow, I got it working now.
Kept working with it, and got the WB, color, etc to work great.
AND, one node edit in Resolve, super great for rendering out on my humble PC.
Yey me! *8^)

 

On 11/8/2017 at 9:36 PM, buggz said:

I couldn't get this to work for me:

- Under Color Management select:
-- Rec 2020 HLG ARIB STD-B67 for Input Color Space
-- Rec 2020 HLG ARIB STD-B67 for Timeline Color Space

The colors are WAAAY oversatured, especially red.  
I am using a calibrated NEC PA272W monitor.   
I'm thinking this would require a Rec 2020 capable and calibrated monitor?
I don't understand, it looks very bad to me.

I purchased the Lemming LUT a while back, I've never used LUTS, guess it's time to learn and try them now...

 

 

 

 

Hi jonpais, cool, thanks.  Definately would like to see this.
Though, I am having dificulties with these LUTs, and all LUTS in general, they are ALL harsh, and hard outputs too me.  Waaay tooo much heavy adjustments for my tastes.
I like subtle adjustments.  At this time, I am going for accurancy.
It also increases the node counts in Resolve, which unfortunately for me, makes for a looong render time to output on my humble PC.
I guess I really don't understand LUT workflow, heh, even though I have bought many diiferent LUT packages.
I am finding out LUTs are definately are NOT "magic bullets" as some are advetised...

 

4 hours ago, jonpais said:

@buggz Once my update of FCP X is finished installing, I'll see if I can't compare Driftwood's LUT to Leeming's and share the results here, unless there's already one online somewhere.

 

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Sorry, I couldn't bring myself to upload a comparison between Nick Driftwood's and Paul Leeming's LUTs - fact is, I think Driftwood's is much better, at least for what I do and how I shoot. I still like the Leeming LUT quickies though. Anyhow, here's a breakdown with LUTs by both.

 

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Last example... for me the best seems - don't touch anything! :) i. e. only Hybrid Log Gamma (first one, I don't know what it is, I have no GH5) preserve wonderful Voigt's a la Leica (or even bettered it) in silky-milky smoothness. Moreover, any of intervention restrict dynamic range, which could be seen in fine hair details. Imho and taste, of course.

So, first one is just OOC, just setting mode to HLG?

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@anonim The first clip is hybrid log gamma straight out of the camera. ALL I 400 Mbps is going to eat up all my storage space, it takes forever to transcode, and my maxed out 2017 27” iMac struggles with the files even after they’ve been converted to Pro Res (FCP X 10.3.4, High Sierra). The answer? I’ll be sticking with Long GOP 150Mbps from here on out. 

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Incredible... for accuracy of this type of shot important info is - what kind of light was in that space? If it is mostly some sort of white neon, or even strong pale daylight, than for me rendering of straight HLG version is even more impressive (because of inevitable smoothing effect which than is exactly transferred).

But, why than such hype about conversion and luts? It has to be that I make some misjudgement. Or Voigt has so diabolic matching character with HLG?

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So dispersion of  light is even and there's no place for deep shadows. OOC HLG rules, every other look looks a bit or more artificially blueish plastic, even Driftwood's.

In ooc HLG, contrаry, we expect - I've said - pale Marlon Brando from Last tango in Paris to come in, looking for only one and true oblivion from stupid West matters - that by diving into East.

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