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    GH5 VLog Color Space
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    What is the GH5 VLog-L color space? Is it restricted to Rec. 709?

    There is conflicting info abound. Daes anyone have a definite answer?


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    Shooting at 1080, the GH5 should be in Rec.709. Shooting at UHD or C4K, it should be in Rec.2020.

    It's a good question. Does the camera work correctly?


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    Senior Member Cary Knoop's Avatar
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    The colors are definitely encoded in v-gamut, you can see this if you delog the footage but keep the output colorspace v-gamut, the colors turn very desaturated which is due to the larger colorspace of v-gamut. Converting them to Rec.709 gamut will definitely show some colors out of gamut which is also an indication the source gamut is larger than Rec.709.

    However if the colors are actually recorded versus scaled to v-gamut in camera is very hard to tell.

    By the way, it may be my eyes but I have a feeling the color science has been updated in release 2.0 under HEVC.
    Last edited by Cary Knoop; 10-01-2017 at 04:36 PM.


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    Re: Color space.
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    Quote Originally Posted by Cary Knoop View Post
    The colors are definitely encoded in v-gamut, you can see this if you delog the footage but keep the output colorspace v-gamut, the colors turn very desaturated which is due to the larger colorspace of v-gamut. Converting them to Rec.709 gamut will definitely show some colors out of gamut which is also an indication the source gamut is larger than Rec.709.

    However if the colors are actually recorded versus scaled to v-gamut in camera is very hard to tell.

    By the way, it may be my eyes but I have a feeling the color science has been updated in release 2.0 under HEVC.

    Gary,
    if it looks to you that the colors are in V-Gamut (it is very encouraging), then the space is larger than 709 because the sensors, in general, are wider (color) than 709. The gamut may not be the one of VariCam but it should be larger unless intentionally limited.
    I read somewhere that DVX200 was intentionally limited to 709.

    Thank you for you input. Very helpful. Let see what else people noticed.


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    - Definitely a wider gamut than REC709. You can see this for yourself by shooting a chart in V-LOG L and then converting to different color spaces. Exactly how wide? That I can't say.
    - Color is definitely improved when recording H.265. For this reason alone it's worth considering shooting the 6K mode for projects that justify the hassle of conversion to edit.


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    Quote Originally Posted by joe12south View Post
    - Definitely a wider gamut than REC709. You can see this for yourself by shooting a chart in V-LOG L and then converting to different color spaces. Exactly how wide? That I can't say.
    - Color is definitely improved when recording H.265. For this reason alone it's worth considering shooting the 6K mode for projects that justify the hassle of conversion to edit.
    I love recording V-Log L using 4992x3744 10bit 4:2:0 and using in-camera 16:9 markers.

    The results are fabulous and it gives more framing flexibility, however transcoding is relatively slow and editing without transcoding is nearly impossible.


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    Quote Originally Posted by Cary Knoop View Post
    I love recording V-Log L using 4992x3744 10bit 4:2:0 and using in-camera 16:9 markers.

    The results are fabulous and it gives more framing flexibility, however transcoding is relatively slow and editing without transcoding is nearly impossible.
    Yeah, for "normal" stuff, it's a PITA right now. I wouldn't even think about using it for a quick turn-around event job.

    I just shot a doc, and someone was able to review footage with the originals, while ProRes was transcoded elsewhere. I'll be shooting a feature this month, and we'll start transcoding right on set as we change "magazines".


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    But can the GH5 be configured with BT.2020 without buying any third-party software? I shoot only in UHD with my GH5. Thanks


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    Quote Originally Posted by Cary Knoop View Post
    I love recording V-Log L using 4992x3744 10bit 4:2:0 and using in-camera 16:9 markers.

    The results are fabulous and it gives more framing flexibility, however transcoding is relatively slow and editing without transcoding is nearly impossible.
    Isn't any advantage of a larger color space reduced by 4.2.0 chroma subsampling compared to the 'normal' 10bit internal 4.2.2 codecs?


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    Quote Originally Posted by Shirozina View Post
    Isn't any advantage of a larger color space reduced by 4.2.0 chroma subsampling compared to the 'normal' 10bit internal 4.2.2 codecs?
    To get additional grading advantages, you really need at minimum 10 bit, 4:2:2 video data. Things start to fall apart as you push "lesser" captured video bits with anything more than a light grade or manipulation. The same goes for using a mostly visually lossless bitrate and compression codec for recording the footage.

    I've read somewhere that the GH5 VLog-L mode caps out at about DCI-P3 worth of usable color information. It's hard to find Vlog-L to P3 conversion LUT's, however, because so many people mistakenly think the GH5 is hard limited to Rec 709.


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