FS7: Grading XVAC I vs L

egproductions

egproductions

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I never really thought twice about it, I've always been shooting in 10bit with my FS7 (XVACI). Doing some tests now and finding it difficult to see the value of 10bit over 8bit. I trying to push it in the grade (bringing back highlights, bringing up shadows, adding a disgusting amount of saturation) and they both seem to be reacting more or less the same way. I am grading in adobe premiere pro using lumetri. Am I missing something?
 
Yes, you are :)

With 8 but, I can see plenty of false banding. Were banding impossible by definition with 10 bit, things would be easier as any banding I could qualify as false - but we know this is not so simple, so false banding is a very distracting thing.

Piotr
 
Try shooting a clear blue sky in the nothern direction in log 8 bit... then grade it and add sat. Should band a bunch.
 
Or even just shoot a interior wall of a solid color - and then light it with a gradient and I think - especially when pushed in post - you'll find lots more banding in L than I
 
I did the blue sky test and I see what you're saying with the posterization/banding but only when you really bump up the saturation to an absurd amount (although I do actually see it a little when a healthy amount is applied) ok, I guess in a solid color situation it is beneficial.

Does 10 bit help at all with headroom (highlights)? I'm shooting slog3.cine and don't see any difference in that regard. With my DSLR, shooting 12/14bit raw, I expect to be able to pull back the highlights a stop or two when processing to an 8 bit image. Does slog3 distribute the tones enough that there isn't any DR benefit between 8bit or 10bit?
 
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egproductions said:
I did the blue sky test and I see what you're saying with the posterization/banding but only when you really bump up the saturation to an absurd amount (although I do actually see it a little when a healthy amount is applied) ok, I guess in a solid color situation it is beneficial.

Does 10 bit help at all with headroom (highlights)? I'm shooting slog3.cine and don't see any difference in that regard. With my DSLR, shooting 12/14bit raw, I expect to be able to pull back the highlights a stop or two when processing to an 8 bit image. Does slog3 distribute the tones enough that there isn't any DR benefit between 8bit or 10bit?
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AFAIK, bit depth is entirely independent of dynamic range. The only way it could have any bearing would be that when you do try to recover blown highlights, your 10bit image will give a smoother, less ugly transition from information-rich to blown portions of the image.

On a different note, I think that lack of banding is only the most obvious advantage of 10bit vs 8bit. When shooting any saturation-rich scene, you’ll notice much more lifelike and pleasing tonality in a 10bit image. Try shooting some neon or stage lighting and you should get an idea, or even flowers in sunlight. Skin tones are also hugely benefitted, especially in the case of unavoidably mixed lighting, where bringing back an 8bit image from zombie-land is next to impossible.

On the D/R front though, no real change - isn’t the 14ish stops enough?! ��

Jason
 
egproductions said:
That is pretentious. (no disrespect)
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I admit that stating it so universally is borderline pretentious, as every tool has its place. That said, if you’ve not tried DVR, and are interested in colour, then I highly recommend the small time investment required. It really does make a world of difference over Lumetri!

Jason
 
The other end of this question is what are you grading on? An 8 bit computer monitor? You can’t see 10 bit color refinements on an 8 bit display.
 
Regarding highlights... they are only protected by your exposure but if you are slightly overexposed and try to recover I would expect the 8 bit to have a chunky gradient and the 10 a little less chunky.

I like Chapmans description of rating the camera high with protecting highlights and low when protecting shadows.

But DR will effect the amount of recovery and bits will effect how smoothe its recovered if possible at all.
 
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