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interceptor121

Panasonic GH5 10 bit internal recording not good enough

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50 minutes ago, Shirozina said:

Most will be doing the opposite so with the correct transformation no data will be lost.

Wrong. But you could happily change the colors to fit inside if you want. Which is why ppl get paid to correct and manage color.

 

50 minutes ago, Shirozina said:

Log is not a problem as long as it's captured using enough bits

Same could be said about the opposit, no need for log with enough bits.

 

50 minutes ago, Shirozina said:

Who is going to transform REC709 to REC2020 as a workflow?

That happens simply by viewing REC709 content on a BT2020 monitor without transforming it.

And if you convert SD to HD I'm pretty sure that is someones workflow. But then you missed the point.

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I think you are only interested in arguing but here you go;

1, You can't invent colours that are not captured or recorded in the first place. I get paid to manage colour but I'm not a magician

2, REC709 and many other non log camera profiles have limited DR and Gamut so it doesn't matter how many bits the file has if the data isn't there.

3,If you view rec709 on a REC 2020 device without transforming it that isn't a workflow it's called operator error. SD to HD - what point are you making in relation to any of the above?

 

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I jumped in when someone was accused of being wrong when there statement was correct, but I guess you rather have ppl being wrong than argue right?

If you intentionally misrepresent what I wrote as an example and intentionally use it to miscredit me then I guess I really don't have any more to say.

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25 minutes ago, seanzzxx said:

I'm hijacking this thread to ask: how do you expose your 400mbps V-log? I'm renting this camera in a bit and just looking to make sure everything is in place. I generally over-expose Sony camera's by two stops, is this still necessary with the 10-bit 4:2:2 codec? I know I never felt the need with Blackmagic camera's for example, but if I don't over-expose Sony camera's the noise will get insane.

Best way is to enable Waveform option 

Try keeping your IRE in mid 75 and you should be ok 

 

 

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As I started this mess I wanted to give an update some time later

 

AVC-I at 400 Mbps beats the xxxx out of ProRes 422 and I could not see any difference to ProRes 422 HQ at naked eye and pixel peep

Looking for explanations I believe is due to two things

1. intraframe predictive coding on 16x16 blocks that achieves high level of compression than standard discrete cosine transform in ProRes

2. CABAC entropy encoding squeezing additional bits without loss in the clips

It is difficult to average what the benefits are compared to ProRes but is not difficult to see that they are at least 30% based on perceived quality

As there are no fast enough SD cards this is limited to 30p on the GH5 but in terms of non RAW capture this appears to be very good

 

And with this I think I have closed the case I opened myself

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The 200Mbps ALL-I @ 1080p codec is quite stellar. It’s only 1/2 the bitrate of the 400 but at 1/4 the resolution of 4K, so the compression ratios are quite good.

23 hours ago, interceptor121 said:

1. intraframe predictive coding on 16x16 blocks that achieves high level of compression than standard discrete cosine transform in ProRes

2. CABAC entropy encoding squeezing additional bits without loss in the clips

And this is why comparing codecs is so hard. I’m not sure if this has been posted before:

https://pro-av.panasonic.net/en/sales_o/p2/concept/img/technology.pdf

But it basically restates what @interceptor121 did above.

Even the AVC-Intra is very efficient when dealing with I-frames due to predictive algorithms in I-frames and near optimal adaptive CABAC encoding. I think it’s here where the 400Mbps is misleading and why I think wolfcrows conclusions are wrong.

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