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Anyone using BMPCC4K underwater and would like to share some clips?

 

Trying to compare how they hold grading compared to Prores and Panasonic 10bit All-i

 

Thanks

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If I get chance this weekend, I’ll get some uploaded. Did you have anything specific your after?

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Thanks a lot,

wide angle would be good as it is where you need to push more. Macro is easier to grade as you have plenty of light and color from the lights.

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Here is a link to a google drive folder that has a few clips for you to play with.

Ive included a couple of clear water shots in Komodo from 15 and 20+ meters , a clip from Sydney, which has more 'challenging' visibility and a shot which I used as a test for the 'Recover Highlights' function found in the RAW panel. It's interesting to see how much can be recovered with this.

The shots in Komodo were without red filter so you need to really crank the white balance. All were shot in 8:1 with 14-42mm PZ with WWL-1. I only got the Keldan Spectrum after that trip and its amazing the difference it makes when you have access to the second gain circuit of the dual native ISO. The Sydney shot is with the Keldan SF-2 and set of ScubaLamp V4K with ambient filters - if you watch to the end of the braw file you really get an idea of the conditions.

Lastly, I included a couple of quick grades on the clips as reference.

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I checked those files myself and they are a relatively low bitrate around 320 Mb/s. Is there a reason for that? 

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No worries Lionfi2s. Let me know how you go, interested to see what you can do!

@Interceptor121 Did you get the 320mbps from size of file divided by the length of footage in Davinci Resolve?

The footage was shot at 50fps (set in camera as 'High Frame Rate'), where as the timeline frame rate would have been either 24 or 25fps in camera. When you drop the footage in to Davinci Resolve when recorded in HFR it will automatically interpret the footage at the 'time line' frame rate effectively auto giving you slow motion. I usually set them back to 60 as I find it easier to manipulate the speed.

A003_05231544_C031.braw is an 8 second clip and 670MB which makes it nice and easy to check as 4k DCI BRAW in 8:1 50fps is meant to be around 85MB/s (or 680mbps).

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I played the files with BRAW player if you use a VFR mode the camera recorded bit rate still holds. So the files are recorded slow at 25 fps 328 Mbps that is a low value in general. You need to look at 650 mbps or 1.3 Gbps for good quality as the codec uses DCT and is quite basic compression

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I could always switch to 3:1 compression at 60fps but thats pushing 2.1Gbps and there are only so many SSD's I can buy.

I did do a bunch of test clips at 3:1 but no idea where they are. I find 8:1 gives a good balance of flexibility and file size. 12:1 you can see degradation. 5:1 you don't really see much gain. 3:1 I would only use if doing paid work which I don't plan on doing as this is a hobby for me.

Out of curiosity what camera's are you talking about when referring to these higher bit rates?

 

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23 minutes ago, Glasshouse said:

I could always switch to 3:1 compression at 60fps but thats pushing 2.1Gbps and there are only so many SSD's I can buy.

I did do a bunch of test clips at 3:1 but no idea where they are. I find 8:1 gives a good balance of flexibility and file size. 12:1 you can see degradation. 5:1 you don't really see much gain. 3:1 I would only use if doing paid work which I don't plan on doing as this is a hobby for me.

Out of curiosity what camera's are you talking about when referring to these higher bit rates?

 

Am referring to DCT discrete cosine transform compression which is what is used by BRAW and ProRes. The level of compression is mild so if you compare with H264 intra frame you need around double to achieve the same quality. I shoot 400 mbps AVCI intra and on a bench test they do better than prores 422 HQ at 800 mbps. I have clips deep down unedited and looks substantially better than your examples so I thought it may be the compression killing it. Looking at the BRAW specs I would not go below 5.1

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Posted (edited)

So my thoughts so far...

1. You cant beat physics no matter what codec you use. If you have no lights and you are deep you have no colors.

2. Artificially trying to bring colors back with the use of filters does not work if you are deep. Soonest you try to bring out that red you think is there you bringing out ugly artifacts. Again regardless of codec.

3. BRAW is not a magic bullet. Yes it gives you room to play, more room than other 8 bit files, compared to a solid 10bit 422 codec (Prores, Prores HQ, Panasonic ALL I) I dont know if you get any advantage. The highlights roll off is very good though. (I dont know if it the camera or the codec but it is good). You still have to take care of exposure though.

4. The time spent working on BRAW and the correction nodes/layers needed to grade it is way more compared to Prores or PANA ALL i. Same goes with the editing. Any flavor of Prores or PANA ALL i I can edit and play on my Mac without the need to convert to optimised media/proxies. With BRAW I couldn't. So you need more hard drive space and more importantly time to create proxies, edit etc.

5. Like everything you need time to unlock its full potential, so most probably there might be more to take out of the camera and the grading. 

Below is a very quick grade with standard youtube export settings on resolve. I could do more most probably but didnt have the time, maybe a MK2 version later. 

Thanks again Glasshouse for the footage!

 

Edited by Lionfi2s
Added non graded version

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Do you mind sharing the DR project file? It would be interesting to see how you approached the node structure.

On my MacBook Pro, I run into play back issues when using NR which unfortunately seems to be a requirement with BRAW. I was reading that BRAW has no baked in NR where as if recording ProRes, it applies a certain level in camera.

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Posted (edited)

I think we need to see some higher bitrate files as those are too compressed

Looking at this footage especially the area with the surface in sight this camera is outperformed by my GH5 and not little

The image also looks soft I am not sure how well BMPCC handles the MFT protocol for optical correction

Edited by Interceptor121

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1 hour ago, Glasshouse said:

Do you mind sharing the DR project file? It would be interesting to see how you approached the node structure.

On my MacBook Pro, I run into play back issues when using NR which unfortunately seems to be a requirement with BRAW. I was reading that BRAW has no baked in NR where as if recording ProRes, it applies a certain level in camera.

I ll sent to you but it is nothing special. Basic adjustments plus NR and a quick sharpening.

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2 hours ago, Interceptor121 said:

The image also looks soft I am not sure how well BMPCC handles the MFT protocol for optical correction

I'm of the understanding that the BMPCC4k doesn't apply any of in-camera optical corrections on native M43 lenses

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I'm of the understanding that the BMPCC4k doesn't apply any of in-camera optical corrections on native M43 lenses

wonder about Zcam


Sent from my iPhone using Tapatalk

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