Jump to content
RichardSwearinger

Is 4:4:4 color really amazing and better?

Recommended Posts

Do I need to start saving up to buy equipment so I can shoot in 4:4:4 color? Will it make my footage even more fantastic and nuanced?  Or are current compression and processing so good that it doesn't make much of a difference anymore? 

I have zero experience with anything higher than 4:2:2 but I notice that at the high end 4:4:4 12-bit color is always touted as an important step up.  

The cameras that feature it, like the high-end Sonys, have bitrates of 800mbps so maybe it's not a feature that fits into a typical client workflow, but is it useful for personal or very high end work? 

 

 

Share this post


Link to post
Share on other sites

I have only used in on my C300 MKII which has 12bot 4:4:4 in 2K and HD.  Usually, I only ever rely on it for green screen work but there is a slight visual increase. Certain colors pop a little more in some circumstances to me. But I'm in no way some great image technician that can quantify its advantages. I just noticed that greens and some shades or red pop a little more.

  • Thanks 1

Share this post


Link to post
Share on other sites

It's a bit like the difference between say RGB and Adobe RGB (kind of) or JPG vs RAW, as there's more information available. It really depends on whether it's necessary for your work. My preference, whether it comes to video or photography, is to record at the highest possible/practical rates to allow for the best post-processing (you never really know when you're going to need it). It requires more storage space, but that to me is a worthwhile tradeoff. Once information is lost, you never get it back. A graphic example:

https://i.rtings.com/images/chroma-subsampling/subsampling.png

 

Share this post


Link to post
Share on other sites
On 9/19/2020 at 8:19 AM, RichardSwearinger said:

Thanks. That's very helpful because a C300 II and a 4:4:4-capable recorder is high on my list of candidates. 

Cool. It can do it in camera, no recorder needed. Its the original C500 that needs a recorder for 12bit 4:4:4. Just know that the new C300 MKIII and C500 MKII both dropped the 12 bit 4:4:4 from the camera, probably because Canon is pushing their Raw.

Share this post


Link to post
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.

Guest
Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.


  • New Posts

    • According to Panasonic the most common problem is that the camera shuts down by itself. Has anyone had that problem?
    • On further reflection what I have in mind isn't going to work anyway over a long period of time without proper sync even an external recording from the Z6 is going to drift relative to a separate audio recording. As far as I can tell there's no way to deal with this without a camera with a genlock input. The Ninja-V with the AtomX sync can record timecode but doesn't retime the input and only uses the genlock also available via the sync accessory for playback. There also doesn't seem to easily be such a thing as a retiming HDMI to SDI converter with REF IN as far as I can find. The audio side of things is easier as even on a relative cheap device like a Sound Devices Mix Pre 10 II it's possible to send word clock in to the BNC input and timecode to the aux input from a device such as a Ultrasync One. I guess the problem is simply too niche as it only crops up in broadcast where everything is expensive or long recordings of things like concerts with separate audio.
    • It is a great camera. I actually bought the S1 in preference to the S5 as I wanted the more solid build, plus full sized HDMI and top screen display. One of the autofocus features I use the most is the tap to focus (can't remember exactly what is called). I recently filmed in a factory using a crane, so had my phone running Lumix sync via WiFi, and then was able to set a focus box and tap on my phone screen to set the focus area.  It worked flawlessly, plus the ability to also remotely set iso, white balance, shutter speed and aperture was amazing. The fact it takes fantastic photos is a bonus too.  I do agree with you about the limited lens options. However their quality is stunning, and if you're going to stick with the system then the investment makes sense. I hope you get the opportunity to do some travel videography 👍 and thanks for taking the time to write up your experiences.
    • Funny you mention the monopod - I use one on the base of my S1 with the stabilisation turned on and get very nice results. I have a Ronin S, but to be honest I still prefer the vest system I mistakenly sold after believing all the hype about gimbals. I think you're right in the direction of adding mass to the rig, particularly when it's offset, and if you can couple this with a camera with decent stabilisation the results are excellent and with almost zero setup. I do ninja walk though... I also would be interested if anyone has an alternative solution.
    • Hi, I'm Steve - videographer, editor and CGI dude. New shooter is my go-to site for video related stuff so delighted this forum has been created. Big user of MFT and full frame, but try not to be a fanboy about any particular system. Technology is there to serve us, not the other way round 😃
×
×
  • Create New...