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    Quote Originally Posted by DeeZiD View Post
    It doesn't.
    And in my tests less color noise and blotches as well.
    Thats very encouraging. I may start recording open gate and converting to 1080 prores HQ in post.


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    Quote Originally Posted by Thomas Smet View Post
    The only difference between ProRes HQ and ProRes4444 is the added 4:4:4 color and 12bit color.
    Ahh, that's actually a HUGE difference.

    That's not an insignificant difference and is the real reason why ProRes 444 is the default origination codec of most of the narrative TV drama you see that isn't a Netflix Original.

    Like the way 8 bit to 10 bit is a big jump ? Make that jump AGAIN when you go to 12 bit. (RAW or ProRes)

    JB
    Last edited by John Brawley; 05-17-2018 at 03:44 PM.
    Cinematographer
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    I also have a blog


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    Quote Originally Posted by sgttom View Post
    Thats very encouraging. I may start recording open gate and converting to 1080 prores HQ in post.
    Use a bicubic scaler to not introduce any additional sharpening ;)


    Btw, just tried the A7 III earlier.
    Set sharpening to -7, S-Log 2 with higher saturation. Colorspace conversion to REC709 (with some ARRI magic) leads to a stunning image without any banding nor visible sharpening. Looks incredibly organic. Great rendering of fine detail as well.


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    Quote Originally Posted by DeeZiD View Post
    Use a bicubic scaler to not introduce any additional sharpening ;)


    Btw, just tried the A7 III earlier.
    Set sharpening to -7, S-Log 2 with higher saturation. Colorspace conversion to REC709 (with some ARRI magic) leads to a stunning image without any banding nor visible sharpening. Looks incredibly organic. Great rendering of fine detail as well.
    How do you think it compares to the image coming out of the GH5?


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    Quote Originally Posted by John Brawley View Post
    Ahh, that's actually a HUGE difference.

    That's not an insignificant difference and is the real reason why ProRes 444 is the default origination codec of most of the narrative TV drama you see that isn't a Netflix Original.

    Like the way 8 bit to 10 bit is a big jump ? Make that jump AGAIN when you go to 12 bit. (RAW or ProRes)

    JB
    No duh it is to some people. I was talking about image compression in terms of macro blocking and mosquito noise which was the topic of the discussion. Beyond the 4:4:4 and 12bit color difference the compression level itself is roughly the same. If one wants to eliminate that mosquito noise and extra potential for macro blocking they need to go to uncompressed, raw or ProRes4444 XQ.


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    Quote Originally Posted by John Brawley View Post
    Ahh, that's actually a HUGE difference.

    That's not an insignificant difference and is the real reason why ProRes 444 is the default origination codec of most of the narrative TV drama you see that isn't a Netflix Original.

    Like the way 8 bit to 10 bit is a big jump ? Make that jump AGAIN when you go to 12 bit. (RAW or ProRes)

    JB
    John, have you ever shot with the Sony PMW-F3 back in your past? Wonder about your thoughts with it, and how 444 from the F3 compares with shooting with it at 422? (which is normally all I ever do with it)
    Am a Sound Recordist in New Zealand: http://ironfilm.co.nz/sound/
    Follow my vlog and adventures in sound: https://www.youtube.com/c/SoundSpeeding


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    Quote Originally Posted by IronFilm View Post
    John, have you ever shot with the Sony PMW-F3 back in your past? Wonder about your thoughts with it, and how 444 from the F3 compares with shooting with it at 422? (which is normally all I ever do with it)
    I'm afraid I've never shot it. Only F55 in Sony lately. Keen to look at Venice soon.

    JB
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    I also have a blog


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