Move over Apple, there’s a new kid in town. The LG V30 takes mobile video to new heights with a 10-bit HDR Image Sensor and LG Cine-Log gamma. In case you didn’t catch that: the LG V30 promises to record 4K video at 10-bit color depth with log gamma encoding. Before getting too excited about this, it is important to separate fact from fiction, and cinema5D will do exactly this with the LG V30 after some thorough tests, the results of which you can expect in a subsequent article. Meanwhile, check out Parker Walbeck’s LG V30 vs RED Weapon video on his YouTube channel Fulltime Filmmaker: Regardless of whether we will see true 10-bit video recording from this particular smartphone, what matters is that the technical requirements of encoding HDR video in a consumer device are being taken seriously. I’ve been harping on for a long time that this simply had to happen at some point (see my article: What’s the Deal With 10-bit Color? Wide Gamuts, HDR and The Future) not only as a minimum for professional and prosumer video devices, but for consumer devices as well. For more on the differences between 8-bit and 10-bit color bit depth also take a look at 256 Shades of Grey – LOG, LUTs, 8-Bit and 10-Bit. Many argue that HDR is more important than UHD resolution when it comes to improving the perceived quality and viewing experience. As wider contrast ratios and wider color gamuts necessitate more data – and substantially higher color sampling – 10-bit is an absolute minimum. Sony is even offering S-Log and HLG in some of its latest palmcorders, but only in 8-bit XAVC-S at up to 100Mbps. Panasonic seems to have acknowledged that 8-bit video has no place in the world of non-linear gamma encoding and HDR, offering 10-bit 4K in the GH5. It is very exciting that we may now have a smartphone taking pro video requirements seriously. The thing is, I really didn’t expect it to come from anywhere other than Apple. Rather than gush enthusiastically (and prematurely) about a device which is probably not quite everything the marketing hype promises, I want to give you some reasons to be optimistic. Until we are able to shoot and dig into the video encoding a bit ourselves, we’re not 100% sure of what to expect from the LG V30, but here’s the published data. LG V30 camera and video specs Dual Rear Cameras: 16 MP Standard-Angle Lens f/1.6 Field of view: 71 ̊ Resolution: up to 4656 x 3492 pixels (default); 1.0 μm pixel size Glass Camera Lens – minimizes light dispersion for superior sharpness and color 10-bit HDR Image Sensor – capture up to 1 billion colors OIS+2.0 and EIS 13 MP Wide-Angle Lens f/1.9 Field of view: 120 ̊ Image sensor: 1/3.4″ Resolution: up to 4160 x 3120 pixels (default); 1.0 μm pixel size Video Recording: 4K Video Recording at 30 FPS Resolution: up to 3840 x 2160 pixels (1920 x 1080 default) Cine Effect – choose from 16 different color grading presets to add a cinematic look Point Zoom – zoom in on any selected area within the frame for more stability and control Manual Video Mode* – adjust audio focus, manual focus, white balance, frame rates, and more LG-Cine Log – when in Manual Mode, capture 200% wider color gamut & Rec.2020 800% dynamic range for enhanced video manipulation in post-production Steady Record 2.0 – record smoother, clearer videos on the move Slow-Motion Video Recording – 1280 x 720 resolution, 240 FPS Time-Lapse Video – record a video that plays back faster than normal 1Quick Video Editor* – merge up to 50 photos or videos; trim and add title/text, background music, and theme effect overlays Snap Movie* – capture and combine a series of short video clips If you are a die-hard iPhone shooter, could the LG-V30 tempt you to switch? Let us know in the comments.

Grass Valley EDIUS 9 is the latest version of an NLE that’s popular with broadcasters worldwide (Windows only). It brings a complete end-to-end HDR workflow. For the uninitiated, EDIUS is an editing software that emerged after Grass Valley, the company behind Edius, decided to move up from creating Premiere Pro plugins to making their very own NLE. Now, 12 years on, the developers have announced EDIUS 9 at IBC 2017. Though you may not have heard of it, EDIUS is used widely in the broadcasting world, reaching an impressive 90% of broadcasters in Japan. This is very likely due to its import and export support for a wide variety of video formats, which makes it easy for stations to convert footage from various sources such as phones or drones into one unified format. Additionally, EDIUS is based around a very simple design, making it possible for users who aren’t professional editors – such as journalists or station employees doing basic video work – to get up and running fast without the need for long training sessions. Also, EDIUS is completely software based without needing any proprietary hardware and relies mostly on the CPU, which allows for basic editing even if you don’t have a powerful video card. EDIUS 9 announced at IBC 2017 features support for a complete HDR workflow, ranging from import to a BT-2020-compatible timeline, through colour correction, all the way to export to broadcast or web standards such as YouTube HDR. Additionally, EDIUS 9 also brings support for more camera formats, such as the Canon C200 Cinema RAW Light format, and more native support for formats aimed more towards professional cinema rather than broadcast. EDIUS follows a buy-once, use-forever licensing approach, without the need for a subscription. There are multi-user licenses available on request, but the basic EDIUS Pro will set you back $499, with the extended EDIUSWork Group version available for $999. EDIUS is still a Windows only application, unfortunately. The new EDIUS 9 will become available in November. Have you had any experience with the EDIUS platform? Let us know in the comments section below. 

The Atomos Sumo M has just been unveiled at IBC 2017, along with new converters and a new HDR collaboration with YouTube. After the success of the Atomos Sumo – the impressive 19″ HDR Monitor-Recorder – Atomos has decided to release a monitor-only version. Atomos has also announced a collaboration with Google’s YouTube division to enable easy HDR uploads and, going back to its roots, Atomos is also releasing a wide range of converters for the broadcasting and film industry. Atomos Sumo M In an earlier article this year, we talked about the Atomos Sumo, a 19″ Monitor/Recorder that can handle 4K 12-bit Raw, 10-bit ProRes/DNxHR, as well as 1080/60p live switching and recording. The Atomos Sumo M offers much of the same functionality, minus the recording feature. The display panel is the same, and it still includes its impressive HDR features. Here are the features in detail: 1920 x 1080 Touchscreen Display 10-Bit FRC Monitor Processing HDMI 2.0 and 12G-SDI Inputs/Outputs SDI/HDMI Cross Conversion 1200 cd/m² Brightness Import LUTs from Master Caddy Media HDR Mode with 10-Stop Dynamic Range High-Bright Mode for REC. 709 Viewing HDR Collaboration with YouTube Atomos has announced that it will be collaborating with Google’s YouTube division to make HDR workflow easier. Atomos has embedded a flag into their ProRes files that’s automatically recognised when uploaded to YouTube. YouTube then converts the files to H.265 and, upon detecting that flag, will display the content in HDR whenever someone with an HDR-capable monitor plays the content. This metadata flag is also kept while editing in platforms such as Final Cut X and Adobe Premiere, with AVID getting compatibility with this flag through a future upgrade. Atomos Connect Converters The new Atomos Connect converter range has landed, and it forms a comprehensive and versatile lineup of 15 different conversion, signal processing and system integration boxes that connect, convert, scale, sync, split and repeat your video signals. Each converter is color-coded according to use, making life easier for broadcast and AV system integrators: blue for connect, red for convert, yellow for scale, green for sync, black for split and white for repeat. All converters feature common analogue, SDI, Fiber and HDMI connections for conversion and distribution tasks in SD, HD and 4K. They have locking DC and HDMI connectors, USB power and detachable mounting ears. Bright LEDs show their status, and they can be configured using the free ConnectOS software. What do you think of the new Atomos Sumo Monitor? Which converters are you most  interested in? Are you going to adopt the HDR workflow? Please let us know in the comments below.

Apple has announced the new iPhone 8 and the upcoming iPhone X (pronounced ‘ten’), both of which will be able to record 1080p 240fps and 2160p 60fps using the latest HEVC (H.265) codec. Speaking from the Steve Jobs Theatre at Apple’s brand new campus in Cupertino, CEO Tim Cook revealed that Apple’s flagship iPhone X will also have a 2436 x 1125 “Super Retina” OLED display with support for Dolby Vision and HDR10. Here are the full video specs for both new phones: iPhone 8, 8 Plus and X: 4K video recording at 24 fps, 30 fps, or 60 fps 1080p HD video recording at 30 fps or 60 fps 720p HD video recording at 30 fps Slo‑mo video support for 1080p at 120 fps or 240 fps Optical image stabilization for video Optical zoom; 6x digital zoom (iPhone 8 Plus only) Quad-LED True Tone flash Time‑lapse video with stabilization Cinematic video stabilization (1080p and 720p) Continuous autofocus video Body and face detection Noise reduction Take 8MP still photos while recording 4K video Playback zoom Video geotagging Video formats recorded: HEVC and H.264 For me, I’m a tad disappointed that Apple has finally included an OLED HDR display on one of its phones, and yet hasn’t seen fit to include 10-bit recording. Similarly, it’s got a camera that can shoot 4K 60p, yet a display that only has a 2436 x 1125 resolution. However, given its massive presence in the phone market, and the announcement of a new 4K HDR Apple TV, it will no doubt play a big part in helping to bring these latest technologies to the masses, in a way that the camera and TV manufactures couldn’t alone. The iPhone X comes in 64GB or 256GB storage capacities, priced from $999 (£999). The iPhone X will be available to pre-order from October 27th and will ship on November 3rd. The iPhone 8 will start at $699 (Plus model $799) with pre-orders from September 15th and shipping on September 22nd. Could the iPhone X be the best filmmaking smartphone yet? Let us know your thoughts in the comments below!

Panasonic GH5 Firmware 2.0 brings a host of new photo and video capabilities, including 6K true anamorphic (4:3) video and HLG support.   As if Panasonic hadn’t rocked the boat hard enough, the powerful GH5 has a few more tricks up its sleeve. GH5 Firmware update 2.0 is a major update that includes some expected and unexpected new features. It’s due for release at the end of September 2017. Panasonic GH5 Firmware 2.0 Compatibility with “LUMIX Tether” PC software Improved auto focus performance Improved performance in 6K PHOTO and 4K PHOTO An additional ALL-Intra Video Recording mode 4K HDR video recording New High-Resolution Anamorphic Mode Enhancement of Body I.S. (Image Stabilizer) Correction of white balance setting Improved usability of Time Lapse Shot Improved usability of Power Save LVF Wireless functions Other improvements Video Highlights ALL-Intra Video Recording 4:2:2, 10-bit ALL-Intra has been added to the 4K/FHD video recording mode. Available in 4K and C4K 24p/25p at a healthy 400Mbps, this should satisfy the needs of most color and post work. An ALL-Intra bit rate of 200Mbps is available in FHD. HDR The GH5 records video with a designated gamma curve compatible with ITU-R BT.2100, and you can now choose Hybrid Log Gamma (HLG). 6K Anamorphic Mode “High Resolution Anamorphic Mode” records video with a 4:3 aspect ratio suitable for 1.33x and 2x anamorphic lenses. The “6K” pixel size for this mode is 4992×3744. Before you get too excited, this mode records Long GOP HEVC at 200Mbps only. However, ALL-Intra at 400Mbps is available in 4K Anamorphic (3328×2496). Anamorphic Desqueeze lets you view a corrected image in Cinescope size while recording with 2.0x and 1.33x Anamorphic lenses. Video guide lines offer a variety of aspects, such as 2.39:1, 2.35:1, 16:9, and 1:1 while recording video. These can be used in all video recording modes. I.S. Lock I.S. Lock (video) compensates for handshake when the viewing angle is fixed. A new handshake correction mode provides optimum correction when using 2.0x and 1.33x Anamorphic lenses. Auto Focus Tracking auto focus performance while recording video has been improved. Panasonic Taking The Lead It really feels like Panasonic is taking professional video very seriously and I hope Sony feels some pressure to up its game in the video department of its mirrorless range. The hard fact is that 8-bit long-GOP doesn’t cut it. As I’ve written before in What’s the Deal With 10-bit Color? Wide Gamuts, HDR and The Future, 10-bit color with ALL-Intra options at significantly higher bit rate needs to become the new minimum, and so far Panasonic are the only player in the game making this a reality in the mirrorless world. To find out more, click here for the full press release on the GH5 Firmware 2.0. So what do you think? Let us know what you are looking forward to most in the new update.

FS5 Firmware V4.02 has just been released, fixing some of the bugs introduced with the highly-anticipated V4.0. A few weeks ago, Sony aimed to greatly increase the functionality of the Sony FS5 by releasing FS5 Firmware V4, bringing HDR support with the introduction of new Hybrid Log Gamma Picture Profiles, reduced minimum ISO for Slog 2 and 3, as well as support for 120fps continuous shooting with an optional license sold separately (you can read our post on this release HERE). Only a few days later, however, Sony pulled the download due to “a minor issue found within the HDR function”. This caused concern among users who had already downloaded V4.0, as there is no way of rolling back on this camera’s firmware to a previous instance. Sony removed the firmware V4.0 download, prompting worries from users. True to their word, Sony have now released FS5 Firmware V4.02 available for download from HERE. The release notes also finally indicate the “minor issues” introduced with V4.0. From the Sony site: V4.02 fixes the following issue: 1.      Video image may be recorded with short delay of 2 or 3 frames of audio in other recording modes than AVCHD. 2.      When choosing [HLG1],[HLG2] or [HLG3] in the PictureProfile and CENTER SCAN in the CAMERA/PAINT menu, rebooting the camera may cause brightness and color shift. Were you a V4.0 early adopter and came across any of these issues? Have you already tested the new HDR support? Let us know in the comments below!

We recently reported about the FS5 Firmware 4.0 update which, among other things, unlocked the Instant HDR feature for that camera. Yesterday, this update was suddenly pulled from the Sony website without explanation – what happened? The site only includes a note that the download has been “temporarily” suspended and that they are planning a “restart in early August”. cinema5D reached out to Sony immediately for comment and explanation, not least because users who have already updated their Sony FS5 became worried. We just received this official response:  Sony has temporarily suspended the new firmware updates for PXW-FS5 and PXW-Z150 due to a minor issue found during testing within the HDR function in the Picture Profile menu. These will be fixed in a new firmware version, v4.01 for the PXW-FS5 and v2.01 for the PXW-Z150, which will be released in the coming weeks. If the most recent firmware version has already been downloaded we advise to download v4.01 or v2.01 as soon as it becomes available. If there are any further questions please contact the Prime Support team on 00800 7898 7898 and they will be happy to answer your questions. So the culprit seems to be a minor issue related to the new HDR function, which sounds like something users who have already updated shouldn’t bee too worried about – but of course they urge users to upgrade to the bugfix upgrade 4.01 as soon as it becomes available. The phone number supplied by Sony is the European Prime Support Number. We will update this post, should we receive further information. UPDATE, 31/07/2017: We just got an update from Sony with more details: In response to instances of firmware issues for the PXW-FS5 (v. 4.0) and PXW-Z150 (v. 2.0), Sony has to date confirmed that these issues only occur in specific applications of HLG in HD shooting modes. We are continuing to investigate further and are working to release a firmware update in the coming weeks. We appreciate our customers’ understanding.

Sony have released firmware 4.0 for the FS5, which unlocks their recently announced Instant HDR feature. Available to download from here, this system update for the FS5 will enable the following features: New Features 1. Support for High Dynamic Range (HDR) by shooting in Hybrid Log-Gamma* (HLG) standard 2. Support for continuous 120fps High Frame Rate (HFR) recording in 1080p with CBKZ-FS5HFR (sold separately**) 3. Option to change the minimum ISO sensitivity number to ISO 2000 from ISO 3200 when recording S-Log2/S-Log3 *4K: XAVC-Long 4:2:0 8-bit, HD: XAVC 4:2:2 10-bit. ** See buy links below According to Sony, Instant HDR “enables the shooting, editing and viewing of HDR content in HLG, without the need for additional colour grading.” The HLG mode can be set-up quickly through a newly-added picture profile option, just like setting up Slog3. Here are all the modes now available: [HLG] Setting equivalent to ITU-R BT.2100. [HLG1] Setting that provides greater noise suppression than [HLG2]. However, the dynamic range that can be shot is narrower. [HLG2] Setting with balance between dynamic range and noise suppression. [HLG3] Setting that provides wider dynamic range than [HLG2]. However, the noise level rises. All of the above new profiles use the same gamma curve characteristic, only the dynamic range and noise suppression characteristics differ. The great thing about HLG, and the reason Sony are branding it as ‘Instant HDR’, is that metadata embedded in the XAVC video file when recording can be read by a supporting TV or monitor and displayed automatically with the correct settings. Hybrid Log-Gamma was specifically developed for broadcast television by the BBC and Japanese broadcaster NHK. The main benefit it has over Dolby Vision (a competing HDR technology) is that HLG’s native compatibility allows existing broadcast infrastructure to be re-used for HDR and automatically displayed correctly on a viewer’s TV. Aside from these new HDR options, I’m also really pleased to see the ability to reduce the ISO below 3200 when shooting in SLog3. This should make it easier to match the FS5 with its bigger sibling, the FS7 (which has a base ISO of 2000 in CineEI Mode). I will be shooting some tests on this new FS5 firmware very soon and will follow up with my thoughts on how much of an effect this makes on shadow noise and, of course, how easy the HLG workflow truly is. Do you own an FS5 and will you be downloading this update straight away? Are you excited about HDR or not? Let us know in the comments below.