My contribution

Ballade in Louvain-la-Neuve, with the #GH3 from Nicolas Degrave on Vimeo.

@ tenjin

i agree with you. any idea, in technical terms, why ALL-I would be inferior to IPB? also of note, the 1080p screen grabs from the files i have on hand (using both v9b patch and stock profile) look much better at 100% than ALL-I gh3. IPB on the gh3, alternatively, looks cleaner - though still appears more video-ish.

@tenjin

This camera is only 8 bit, you DO NOT want to be recording so flat. All you are doing is destroying your image. Get all of the color possible when shooting. Leave all settings at 0. By you shooting so flat you are basically killing the color fidelity of your image. Only when shooting raw on such 10-12 but cameras should this EVER be used.

I repeat once again DO NOT ever shoot with such flat settings, it will introduce so many problems. Get your look you want IN CAMERA, this will give you the best possible image.

@shian you did make me chuckle there

IMO flat image and being able to reduce in camera sharpness will allow users to be able to do a better job of tweaking those settings via software in their much more powerful and flexible computer editing systems. I'm not a pro, but i've seen some unbelievable levels of sharpening and color editing done in post. I've been blown away by some work i've seen.

I like what we've seen so far from the GH3 in terms of an image that can be tweaked to be less over sharpened, over saturated and less contrasty than was possible with the GH2 where you couldn't adjust the settings as much as the GH3. We now know that the -5 settings on the GH3 go beyond what was possible on the GH2. I like that the GH3 doesn't have that GREEN TINT of the GH2. IF anything i'm hoping Pany or someone will come up with Color Profiles like other cameras have developed.

@FilmingArt that face palm was for you.

http://www.personal-view.com/talks/discussion/3773/expose-in-the-zone-getting-the-best-image-for-grading./p1

Please get a clue before talking out of your ass. I have demonstrated over and OVER that what you stated is absolute and total bullshit. The only universe in which what you said holds water is if you are editing, grading and finishing in FCP 7 or lower (10bit max NLEs). The rest of the post-production world - the 32bit world - can just ignore your little nugget.

@Shian Show me the universe you live in where an 8bit codec can be brought into 32bit world..... You sir are an Hobbit from the land of Oz...... No matter how much you think, you cannot ADD information that is NOT there..... Lets see how good the GH3 codec hold up before it blows up......

@Driftwood great work!

@shian and @ FilmingArt Don´t really want to join your shootout, but both of you have their point on this topic. shian is absolutely right, claiming that a 32bit workflow helps keeping data intact while grading. It´s simply the math of keeping the level of precise calculations in the biggest possible colorspace. FilmingArt is right claiming that you can´t generate 12bit or more out of the recorded 8bits. His statement that keeping the image flat is always wrong doesn´t apply. It´s right if your histogram doesn´t stretch from left to right (in other words is narrower than the full range) it´s better to try not going flat, cause you are using less than the 8bits. If your histograms uses more than the available headroom, its quite useful to go flater. But there is no absolute rule for this, it depends and you have to know your tools. If you are always going for a flat image there is a big chance that you often use less than 8 bits. Just my 5 cents. Sorry for interrupting (and my rusty english) Holger

Who's wasting time? I'm here to see footage and what's being done. My post I said prior was to simply be careful shooting ultra flat. You can actually lose information doing that. I shoot and edit so I'm speaking from experience.

Also I would really like to see how 32bit from 8bit is being done. I want to see how there is benefit and it being proven. No way in the world can you just magically add something that does not exist.

Regardless no need to derail this thread, carry on peace

Yeah fellas, bake that contrast/saturation image right in!

@shian

I currently edit in FCP7 where 32bit does not exist. Please direct me to a NLE that does 32bit so I can look it up and run some tests. Also to @rockroadpix it's not about baking an image in, it's about retaining information. If you shoot super flat no matter what you do in post your not going to bring those colors back as if you would have just recorded it normal.

Leaving settings at 0 across the board is not baking anything in. These cameras do not shoot raw nor have the quality you see in more expensive setups. Just by shooting flat and trying to bring colors and contrast back introduces noise and all other kind of problems. Regardless let me see what this 32but workflow is about.

Thanks

rolleyes... back to the topic though! eyeroll not directed @Vitaliy_Kiselev .:)

@FilmingArt FCP X, Premiere Pro CS6, Vegas Pro 12, Smoke 2013, are all 32bit

per VK's wishes a new thread to discuss this in http://www.personal-view.com/talks/discussion/5439/8bit-nonsense