GH4 Dvx-200 V-Log is as bad as the GH4!

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estarkey7

Well-known member
Saw this on Panasonic's official vimeo feed, and unfortunately it looks just as bad as the GH4! The DVX200 V-Log has the same damn macroblocking problem as the GH4!
So much for hoping for a fix, as I guess they think this is just fine!
http://vimeo.com/140368754
 
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Does the DVX200 have Cinelike D as a profile option? If so, my LUT might have even wider application beyond the GH4 :D

That is, if the blocking is not a result of Vimeo compression.

But that clip really does show the classic internal V-Log L chroma smearing, so more than likely it's the same problem as the GH4 rearing its ugly head again.

Barry Green and Noel Evans (both moderators here) have beta versions of the camera for testing. Barry has shown a clip in the Exposing V-Log L thread without so much banding, so I guess we'll have to wait for more tests to come out. But given this is from the official Panasonic Pro Video page, it's not looking good for them right now....

Cheers,

Paul :)
 
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I'm thinking these days the new business model is: better to put time into newer, profitable products than go back and waste time on what is already sold. Or has that been all business models since forever? They USED TO fix things... new we are a throw away / fast food society
 
I thought the clips looked awful as well. That's not to say it's 100% issues with the camera. There are a lot of variables that come in to play. Just saying...
 
maranfilms said:
I thought the clips looked awful as well. That's not to say it's 100% issues with the camera. There are a lot of variables that come in to play. Just saying...
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Surely. Many things can result in bad footage. But I really expected that since Panasonic is starting up the marketing machine for the dvx-200, that they would at least put it's best foot forward. Makes you kinda wonder who is in control of approving the produced assets for publication. It's one thing when you have a bunch of beta testers of various skill levels producing content and highlighting weaknesses; but when the results still suck from Panasonic sanctioned content, it makes me think that is just the best the dvx-200 can do with V-Log.
 
I'm not sure, as I haven't looked much into the cam per se, but was more interested in it's V-Log implementation mimicking the GH4. Macroblocking and all.
 
I am eagerly awaiting Barry Green's paper on V-Log L production. I hope it can shed some insight on how to get the best out of the V-Log profile.
 
Has anyone tried V-Log on an external recorder on the GH4 using 10-bit 4:2:2? Also, I've heard the DVX-200 is only 8-bit internal and external.
 
Video Dave said:
Has anyone tried V-Log on an external recorder on the GH4 using 10-bit 4:2:2? Also, I've heard the DVX-200 is only 8-bit internal and external.
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Yes, and it's very gradable. In fact, it's night and day from shooting internal v-log. However I didn't think internal v-log would be as bad as it actually is. That's not to say you can't get good results, Dustylense has shot some nice tests with it, but you also need a good lut to correct the chroma smearing issues we've been seeing throughout the image in certain conditions. Noise reduction software is also needed to clean up the grain. Back to your original question, yes 10 bit is the only way I will bother to use it.
 
I shot a promo with the GH4 in 10bit mode with V LOG L into the 7Q+ Edited and Graded in Resolve 12. Only the on- camera lines are with the GH4. I didn't use any LUT just graded it. Nothing was really working right so did it old school :-D
I'm still learning Resolve and just tried the Color Match feature with the Xrite ColorChecker. That works really well and it got me really close.

https://vimeo.com/140989917

 
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Eric,
I have to say that short clip is some of the best, naturalistic color I have ever seen out of a GH4. Really. I know it's more saturated then many prefer, and not very "filmic" but you really got the skin tones looking "healthy" in a Canon sort of way. :-)

When you said you got good results out of the Color Match feature...that's what really blew my mind! That tool has never even remotely worked on anything I've fed it. Either I'm brain damaged or you've got some extra mojo.
 
joe12south said:
Eric,
I have to say that short clip is some of the best, naturalistic color I have ever seen out of a GH4. Really. I know it's more saturated then many prefer, and not very "filmic" but you really got the skin tones looking "healthy" in a Canon sort of way. :-)

When you said you got good results out of the Color Match feature...that's what really blew my mind! That tool has never even remotely worked on anything I've fed it. Either I'm brain damaged or you've got some extra mojo.
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Yeah dude...that was bangin'!

I wonder if that extra mile you got out of it was from grabbing it 10-bit. Have you found it to make much of a difference for you vs. the internal?
 
Video Dave said:
Has anyone tried V-Log on an external recorder on the GH4 using 10-bit 4:2:2? Also, I've heard the DVX-200 is only 8-bit internal and external.
Click to expand...

Just like the GH4, the DVX200 can output either 8bit 422 or 10bit 422 - there is a switchable option in the OUTPUT sub-menu. When 10bit 422 out is selected, no internal recording can occur.
 
joe12south said:
Eric,
I have to say that short clip is some of the best, naturalistic color I have ever seen out of a GH4. Really. I know it's more saturated then many prefer, and not very "filmic" but you really got the skin tones looking "healthy" in a Canon sort of way. :-)

When you said you got good results out of the Color Match feature...that's what really blew my mind! That tool has never even remotely worked on anything I've fed it. Either I'm brain damaged or you've got some extra mojo.
Click to expand...

No extra Mojo Joe! That was fun to write.

Color Match worked, but today while creating profiles for the A7s it just fails horribly with the non-log settings I'm using. For the GH4 I think the Target Gamma set to Cineon was the key. Panasonic mentions Cineon Gamma in the V Log L papers. Cant remember if that was for the LUT they have for the DVX200 which isn't good at all for GH4 VlogL by the way.

I believe also having the right Source Gamma is VERY helpful.

Unfortunately the Source Gamma selections are limited and color temp is one I cant seem to understand. Seems odd to pick if you need a neutral starting point.

One thing I found is if you use all Rec.709 Configurations it will over saturate big time, but if you lower the saturation after the Color Match it's ripe for editing. YMMV since footage from different camera's will react differently.
 
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DPStewart said:
Yeah dude...that was bangin'!

I wonder if that extra mile you got out of it was from grabbing it 10-bit. Have you found it to make much of a difference for you vs. the internal?
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I'll take Bangin!

Recording in 10bit will always help since GH4 outputs 10bit. Best way to use the GH4 with V LOG L. I pushed it pretty hard with saturation for this spot and it holds up but that's 10bit for you.

I'm surprised how good 8bit files are these days. You can do a lot with it but high saturation isn't one of them.
 
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