![]() ![]() Meanwhile, after you import your GH5 10-bit files in the Media Browser enable Ingest on the top left-hand side, access the Ingest Settings and choose Create Proxies. Keep in mind, though, even with that feature enabled, Premiere Pro CC will still render out using the original file. Once you select this option, the viewer panel will use the proxies instead of the original file for playback. To do so, you can right click on the viewer panel, then find the View Proxies option, and drag it next to your controls. ![]() ![]() To make this trick work, you have to enable the proxy on your viewer in Premiere Pro CC first to see the proxy file, instead of the original. The codec that Daniel Teller highly recommends when working on a PC is GoPro CineForm. You can do transcoding directly in the Media Encoder or use any other third-party application such as Cruncher or FootageStudio 4K. Probably, it won’t allow you to edit the transcoded GH5 10-bit files on your PC flawlessly in each and every situation, but it’s still some sort of solution before Adobe officially releases the imminent, long-awaited update that should fix the issue once and for all.Īll in all, whether you’re using Premiere Pro CC or DaVinci Resolve on your PC, transcoding is still the way to go when dealing with the GH5 10-bit footage. In my opinion it's also a good point to start for the color correction, more natural as you can see.īut your result is very cool :-) so I want to understand how you achieved it in just one step.Those of you who don’t have access to a Mac computer and FCPX, in particular, should be well aware how daunting and tedious video editing of the GH5 422 10bit footage on a PC could be.įortunately, filmmaker Daniel Teller has an alternative video editing workflow in mind, that could help with this overwhelming task. I mean it's identical to the footage I recorded for what I can remember. ![]() It's strange because I tried to set your same parameters in Fcpx, also using HDR tools, but as you can see I have a totally different result.īut if I set in Media Browser the color space override to Rec. at least this is what appears in the inspector :-) The reason is because the original clips from GH5 use a particular video codec called AVC1. Quicktime doesn't work with these MOVs but Fcpx does it. if you set the camera in MOV record format you can choose different color profiles like HLG, V-LogL and many others. If you set the GH5 in HEVC MP4 record format you can shoot only HDR videos (HLG in this case). It would also be great if Fcpx could read metadata from Panasonic cameras like GH5 and Varicam LT, for example lens used, aperture, ISO etcĪll the files I sent you come from the camera. I know optimized media should keep the same color profile of the original one… regardless the color space override applied from Fcpx for a particular circumstance. I discovered that if you apply the color space override before transcoding your footage, when you make the optimized media something wrong happens. This is the reason why I prefer to shoot in HLG instead V-Log. Also I can see a magenta cast on the clips shot in V-LogL and converted in Rec. In my opinion HLG has more faithful colours compared to V-LogL, especially in skin tones. Instead for V-Log L media I set “Camera LUT” to Panasonic V-Log. To watch HLG media correctly on a Rec.709 project I set “Color Space Override” to Rec. The hevc files are very light for the quality they have. On this link you can download the following short clips shot with a Lumix GH5:Ī001.MP4 (skin tones, hevc, HLG color profile)Ī002.MOV (skin tones, h264, HLG color profile)Ī003.MOV (skin tones, h264, V-LogL color profile)ī001.MP4 (scenery, hevc, HLG color profile)ī002.MOV ( scenery, h264, HLG color profile)ī003.MOV ( scenery, h264, V-LogL color profile) ![]()
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