VIDEO CODECS explained! (with GH6, G9 examples)
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- เผยแพร่เมื่อ 27 มิ.ย. 2024
- Thanks for watching! 🙏 please LIKE, SUBSCRIBE and comment
Codecs are used to compress a video into a smaller size, while retaining as much quality as possible.
It can be overwhelming to pick a codec if you don’t know what a particular codec means. I’ll try to give you a basic understanding of the different options and when to use them or when not to. I’ll talk about the most common ones and also touch on containers, chroma subsampling, bit depth and bit rates.
Let’s talk about it!
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00:00 - Start
01:15 - Codec groups
02:23 - Delivery codecs
04:27 - Containers
06:16 - Intermediary codecs
08:48 - Acquisition codecs
09:12 - Compression formats
11:04 - Bit rates
11:44 - Bit depth
13:06 - Chroma subsampling
14:00 - What to choose?
16:05 - Conclusion
#codecs #lumixgh6 #redframetech - ภาพยนตร์และแอนิเมชัน
LONG video with A LOT of info! I hope it is helpful and thanks for watching!
I know I blow you up on every single video you upload, but there is nobody on the Internet that explains things more clearly than you.
Thank you so much 🙏
I agree- nice work, and a big help!
It’s interesting how you stress me with the info and calm me down at the same time with your voice! Excelent teacher!!
Thank you! 🙏
I'm Hungarian, but I understood every word you said. Accurate, thorough, correct. Thanks!
That’s great to hear!
@@RedFrameTech Yes you could do Voice over for sure !
@@DarkTrapStudio Thanks! I’m actually considering getting into doing voice over after all the nice comments about my voice 🙂
This channel is way underrated. I've never seen such a concise , no BS explanation of these things. Thanks
Would you mind talking about picture profiles, such as HLG for increased dynamic range? I'm kinda struggling with what settings to use for shooting, how to import to the timeline and what export settings to use for output. Bumped into some weird color results etc
Thank you 🙏
I will probably make more videos on picture profiles + how to deal with them in post. Are you using DaVinci Resolve?
returning to this video in anticipation of understanding GH7 codecs...
Perhaps I'll have to make an updated video based on the GH7 😅
@@RedFrameTechoh please do!!
This video is not only impressive in terms of knowledge exchange but very well presented at the right pace. Thank you, and kind regards.
Thank you so much!
Very helpful, again, thank you! I need to watch it several times to take it all in!
Excellent explanation 👏👏👏
Great! Best explanation I have ever seen about this difficult topic! Thank you very much!
Thank you 🙏 happy to help!
Great video, really needed this. Thanks for sharing your knowledge with us 🙂
thanks for a deep explaination on this subject!! i'm always using g9 but still dont understand the codecs at all but this is very helpfull
You’re most welcome! It can indeed be confusing subject matter
I found this video very useful, you have gained a subscriber.
Awesome. Welcome to the channel!
Great explained thank you so much now i have at least the feeling to have some understanding to make some videos with my G9
You’re a blessing from god himself
😄 thanks
Awesome breakdown of the various codecs.
Very informative video, I learned a lot.
Thank you
Excellent 🫡
Thank you 🙏
Superb video. Very informative and nicely explained. Thanks :)
Thanks so much for watching!
Very concise and to the point. Something I have yet to find on TH-cam is an explanation of how much computing capability is required for different scenarios. For example, what kind of processing power is necessary to edit Standard profile, Long GOP, 8 bit 4.2.0 100 Mmps, as opposed to V-Log, All I, 10 bit 4.2.2. 200Mmps+. I never find a clear answer, even from specialist computer builders or retailers.
Thanks! 🙏
I wish I could give you an answer to your question. But I am also not a computer expert. I also haven’t found a clear answer anywhere.
I can tell you that I edit my videos on a MacMini M1 16GB RAM. I generally shoot V-log 4K, 10bit 422 LongGOP and playback is great. Until I start adding graphics or heavy color grading. Then I need to drop the timeline to 1080p.
Hello Sebastian, thanks so much for this explainations, i am very happy because now it's easy to understand the mysterys's codecs and co ;) Jérôme from France
Awesome Jérôme! Merci beaucoup for watching 🙂
Very useful video, thank you
Wow! You put a lot of work and research into this one, Sebastian. I was searching to see if anyone had compared the colors of the G9 and the GH6 and found this video. Glad I took the time watch!
Thanks Matt!
This video is awesome, pure gold! Thank you so much for the info
You’re welcome! 🙂
Very nice video and very clear explanations, thanks a lot.
You're most welcome!
This was great.
Thank you!
Great explanation! Keep going!
Thanks Scott! I will 🙂
Excellent! Great and clear explanations. And you are actually talking about my cameras too, the GH6, the G9 (and perhaps the the GH5MkII). Perfect for me for a better understanding.
Thanks!👍🏻
Love the information and spreading it to the community! Would have saved me hours and hours on forums to get my information on codecs and containers!
Thank you 🙏
Thanks for that info. Good help. I will be using my atomos ninja V with my G9 for capturing video.
You’re welcome! Thanks for watching the live stream as well
A really great video, lots of information but presented side by side giving a very good overview. Thanks for all the effort needed to do this. 👍
Great video man, only found the channel recently but it's fantastic. Keep it up!
Thanks! 🙏
Best explanations ever. You make it easy to understand! Keep up the good work!
Thank you! 🙏
Nice vidéo,thanks even if I already know the definition of the codecs well. The subject is very well structured and explained...little bit like in old Gerald Undone Videos from 2019-2021...
Thanks for the compliment Filip! 🙏 Gerald Undone talks a lot faster though 😂
@@RedFrameTech yeah for sure he talks fast and sometimes I needed to watch the video twice...😂😂😂
Je zei je naam op een erg Nederlandse manier hahah! Was vast de bedoeling, goeie video helpt ontzettend!
Haha, klopt. Ik spreek m’n naam altijd uit zoals ik ‘m gewend ben uit te spreken. Nederlands dus 😉
Well done! I appreciate that a lot of work is behind such a comprehensive video!
Thanks Luke! 🙏
It was more work than I thought and uploaded the video only 2 hours before got published 😅
@@RedFrameTech It is an interesting and timely topic.
My set up is:
- G9 and mainly PL 25mm f1.4
- CineD or Natural
- 1080p/10bit or 4K/8bit, 50p 4:2:0 LongGOP.
- I don’t have a Ninja V or VLogL.
- I like using the GHAlex LUT. I have also done initial testing with your G9 to GH6 LUT too and I am keen to run more tests. Looks good though 👍👏🥳!
I suggest your video is timely as many people are buying newer Apple computers with its silicone chip. My MacBook Pro 14 M1 has no problems grading using the free version of Davinci Resolve, even 10 bit now! The Apple silicone chip is fantastic. So I don’t feel a need for the ProRes codecs.
The question I have is: what kit / set up / codecs would deliver a materially better image?
I live in Western Australia, one of the most sun drenched parts of the world. The challenge is ensuring the exposure is correct: using zebras is critical. Dynamic range can be wanting on the G9 when outdoors.
My own assessment is that the only material step up in quality would be moving to VLOG in the S5II… or do you think either of the following would do the same:
- GH6 with VLOG or other codecs?
- VLOGL in the G9?
Do you think the S5IIX’s codecs add any material benefit over the S5II (All-I and ProRes etc) assuming we are not making Hollywood movies?!
@lukeparsons460 That’s an interesting challenge.
In my opinion, the S5II is not going to make the world a difference compared to the GH6. That is to say; the GH6 in V-log with DR boost turned on, giving it the most dynamic range. Sure, on paper the S5II has more dynamic range, but I think in real world use, the difference will only be apparent in very high contrast situations with particularly dark areas. These cameras are designed with dynamic range in the highlights (so you could boost the overall exposure and therefore lift the shadows) and the GH6 handles highlights very well. I’ve been able to recover lots of detail in, what appeared to be, clipped highlights. The S5IIx extra codecs (All-I) are only beneficial if you want to do heavy grading, effects and shoot lots of complex movement. In most cases; unnecessary and not noticable.
And if you’re not experiencing any problems with editing in H.264/H.265 there’s no need for ProRes either. I also edit on an M1 (MacMini) and it is indeed fantastic! But I do notice a significant difference in playback between H.265 and ProRes when graphics and animations are added. But only then.
About the G9; V-logL makes a massive difference in terms of dynamic range and flexibility. It makes matching with other cameras much much easier. And you gain waveform on the G9 with the V-log upgrade, which is my preferred exposure tool.
It is a complicated dilemma with lots of variables to consider. And I can only give you my opinion, but I hope it helps 😅
@@RedFrameTech Many thanks for the thorough reply - it is very helpful Sebastiaan! Incidentally I think your reply may provide the outline for another video! 🤣
My understanding is that the GH6 is about 2 stops behind S5/S5II in DR and that narrows to 1 with DR Boost (the actual difference varies with codec and ISO etc)? If so, that seems like it is a pretty good result really.
I don’t currently use animations, effects etc, in videos. Thus to date my assessment has been that the GH6 capabilities are beyond my present needs. That assessment would also apply to the S5IIX. The S5 II - with it fewer codecs and capabilities - would suffice.
Now that you have flagged the impact of animations etc, I might wait and see how my workflow evolves. In the interim the G9 Mark II / G10 might appear, providing another option!
Your comment about VLogL is interesting. I am aware that if I were to buy the upgrade, you have already published detailed videos to help a new VLogL user! Again, very helpful.
I’m also keen to try HLG. I found a post recently explaining the differences between the linear and log processing in the extremes of the luminance curve (log vs linear). It seems that HLG can - if used effectively - offer benefits over VLogL. I will need to try and rediscover the post.
All the best and thank you for sharing your wealth of knowledge.
Luke
PS - have you ever sailed in the Sydney to Hobart Yacht race?
@lukeparsons460 I was thinking the same thing; video idea 😂✅
You're correct on the stops. It does change depending on ISO on both cameras, because we're basically talking 'usable stops' of dynamic range (signal to noise ratio).
A successor to the G9 would be very interesting indeed!
I haven't used HLG much. When I just got into LOG recording I tried HLG as well and found it to be a pain to grade. But cameras and software have evolved and so did my skills. So I think I'll give HLG another try.
I have sailed all over the world, but never been to Australia (so technically not all over the world 😅), but SydneyHobart would definitely be something I want to do some day.
Acquisition = RAW / Intermediate = Pro Res 422 HQ / Delivery = H265 would be the perfect workflow for as I use a Mac
Excellent! With what camera do you shoot RAW?
@@RedFrameTech I don't have it Im planning to buy it next month, Its an EOS M hacked with green lantern that shoot 5K Raw 14bit for 200$ hahahaha plus a new build more stable of the modded software just launch so Im so exited !
@@DarkTrapStudio Nice! That definitely sounds exciting! Have fun 🙂
@@RedFrameTechThanks :)
That was a great refresher course! I just shared it on EOSHD. I know you did a video on this not long ago, but what CODEC would you recommend as the MOST efficient for V-LOG? Basically how low would you go? I have a G100 that shoots 8bit 4:2:0 V-LOG (along with a GH6) and I'd like to make use of that, but it's unclear if I should. Obviously, the Panasonic engineers thought it would be "good enough" for mild grading, but I've heard many people say it's not "possible". If I don't shoot in V-Log, should I just shoot "Natural" profile on the G100 and GH6 if I want to match them?
Thanks for sharing it John! I appreciate it 🙏
To answer your question;
Using V-log in 8bit is not to be recommended. It can do more harm than good. There’s no benefit to using V-log in 8 bit, cause you won’t have any more room for grading than you have with say the natural profile. And even worse: if you made a mistake with white balance when shooting 8 bit V-log, your image falls apart almost immediately when you try to correct it.
I think, putting V-log in the G100 was more of a marketing thing rather than something useful.
Natural would be a good choice on both cameras for matching. I don’t know if the G100 has Cinelike D2? That would also be a good pick.
Codec = enCODer and DECoder
Yep. Thanks for the addition. I should’ve mentioned that
Very comprehensive, thank you! The G9 and the G90 also have AVCHD listed among containers, even though it's a MOV in the end. Also I heard that LongGOP is harder to edit because it's more compressed (by the means of those interpolated frames). NO clue if there's any truth to that though.
Thanks 🙏 AVCHD is a bit outdated and has limited compatibility (not supported on Apple).
LongGOP is usually easier to edit than All-I, but that mostly comes down to the lower bit rate used with LongGOP. If it would have the same bit rate as an All-I equivalent, it would be hard to edit with. But then it would almost defeat the point of using LongGOP in the first place; smaller file sizes.
@@RedFrameTech Right, cheers!
Great!!. But when to use apple pro res?
ProRes is always All-I 10 bit 422 AND is a good editing codec. So high quality, smooth editing 😊
Thans for very informative video. I like to share my experiences with GH5 and GH6 codecs. I have compared especially GH5 all-i and Long GOP 4k quality with 65" quality TV and 400-1000% enlargements and I cant see any meaningfull difference in video quality. I have tested stationary and complex moving videos. In fact Long GOP uses much more bitrate for the reference frames (i with ipb) so the result is cleaner if the IPB codec is good and complex enough like Panasonic h.264 is. I can still see that in stationary videos the IPB is visually cleaner and has less compression artifacts.
The best codec in GH5 and G9 is obviously the 5.2k 10bit 4:2:0. It has way more resolution compared to 4k options.
I wonder if the GH6 4k 422 is better than 420 because they uses the same bitrate and then 420 gets more bitrate to important luminance. Is there any test GH6 422 vs 420? 4k 10bit 422 is also very hard for many computers, for example nVidia graphics cards does not support it. My PC plays GH6 4k 420 silky smooth and silently but 4k 422 makes processors very stressed and noisy.
With GH6 it is a good idea to use 6k codecs because when down sampling it is almost like 4k 444 quality at least if watching with a player. 6k 420 is a lot crisper in good monitor/tv than any 4k.
GH6 all-i videos has very large files. In my opinion there is very little or no benefit using those if ones editing computer can handle h.265 files smoothly. I have not seen any comparison GH6 all-i vs IPB where there is image quality benefits. GH6 prores HQ uses less HR than IPB so it is noisier. It may give a little advantage when using post NR.
Thanks for sharing your experiences! It’s very interesting. I’m going to do some more testing myself and keep your tests in mind. Unfortunately, I don’t have such a 65” monitor 😅
So in Post it would def make it easier if all codecs ,bit depth and frame rates were avalible to shoot w in camera if i said right? Ill explain. I shoot the highest bit rate availible i beleive pro res and mov . When it comes to low light (standard room can light) the exposure is all over the place from 5.7 k pr to 4k 60 to hd 240 and so on. Very hard to match on the fly and in post . It just has way different illumination if makes sense. Easily i could be doing something wrong.Ill prob reference this video again. Thank You
So, you’re struggling with exposure, right?
Exposure is not affected by the codec, bit depth or bit rate.
It is however affected by frame rate. The higher the frame rate, the more light you loose. More frames have to be captured in 1 second, so the sensor will be exposed shorter per frame accordingly.
So, when you change to a higher frame rate, you will have to adjust the exposure (with ISO, aperture and sometimes shutterspeed).
I suggest watching my video about waveform, so you can learn what to look for when it comes to exposure. Hope it helps!
Oh ! Def understood my question .Yessir.Thank You
Hi Yes I do have question. How to setup possibly the best way in terms of image quality Lumix S5 MK II? Thank you
That really depends on the end use. But the general principle is to use a 10bit 422 all-i codec that is the least compressed. That applies to any camera.
But image quality is subjective. You might find 10bit 420 LongGOP good enough.
Thanks for watching!
@@RedFrameTech Thank you Sebastian my name is Artur. Hm.. but there is no all-i codec only LongGOP in every case plus some different codecs but no all-I.
@@RedFrameTech I must tell that your video is very complex and for the people like who do not know nothing about this and just starting is very big help. Thank you Sebastian.
Hi Artur. Yeah, true. The all-i codecs will be available in the S5iix. Forgot to mention that. So, you’re limited to LongGOP, which is still good quality though. Pick a 10bit 422 in LongGOP MOV if you want to get the most out of it
You’re very welcome! Great to hear it helps
May I ask a question, I understand if you’d prefer not to answer! I own a G9 & GX9 and want to record past the in camera time restrictions on both, an A cam and a B cam / B roll and for different angle shots, not only for youtube but events such as weddings …, I also want to improve the chances of matching the finished look as best I can between camera, is an external recorder my only option and is Atomos Ninja my best option, if so which one? As I say, I understand if you’d prefer not too provide an answer, i’m aware that I will need to keep an eye on overheating, i’ll have to devise a shooting strategy to manage this. I want to buy a monitor anyway, but was wondering if a recorder monitor would be the better investment if the above scenario stood a chance of working for me. Many thanks. 🤔
I'm always happy to answer questions if and when I can 🙂
In my opinion the Atomos Ninja V would be a great solution. I would try finding one second hand. There are some great deals out there! I haven't had any overheating issues with the G9 when the Ninja V was recording its feed. The camera itself doesn't have to do much when recording externally and I have recorded for hours at a time without issues. I haven't used the GX9, so I can't speak to that one.
As for matching colors: external recording doesn't really make a difference there. The Ninja only records whatever the camera is putting out over HDMI. It doesn't affect the look of the image itself. With RAW it's a different story, but neither of your cameras are capable of putting out a RAW feed.
There's also the Black Magic Video Assist which basically does the same job. But it's more expensive and the Ninja V does everything you need it to do in your case. I wouldn't go for newer Ninja models as you would be paying extra for features you don't need for your use case. Hope that helps and thanks for watching!
What frame rate options are available for HDMI output at 10bit 422? And, how do you select All-I when outputting hdmi?
Depends on the camera. If you’re talking about the G9, 10bit 422 over HDMI is available up to 60fps. And if you’re recording to an Atomos Ninja V in prores it will be all-i, as that is an all i codec.
@@RedFrameTech Yes, specifically the G9. In the HDMI Rec Output menu, I only see 60p as an option. Are you selecting frame rates on the Ninja or the G9? I don't have a Ninja to test so just speculating.
Because the G9 can record 10bit 422 internally up to 30p, those frame rates don’t show in the HDMI output menu. It puts that out over HDMI anyway when you have that selected for internal recording.
The G9 can’t record 10bit 422 in 60p internally, so that’s why you can select that for the HDMI out.
As for the Ninja; you select a frame rate on the camera. The Ninja will record whatever the camera puts out in terms of frame rate.