[noggin]

>You shoot 10-bit (and ideally Log) to give you latitude in your edit and grade, grading this down to 8-bit makes sense...

You are always giving me excellent advice and your answers are perfect from the technical point of view. But perhaps too perfect for me. .... and sometimes I don't understand well.
Could you explain better please? Do you think I can shoot 25p 10 bit and in post I can change to 50p 8bit?

This is REALLY off topic for an Nvidia Shield post. We should probably continue our conversation by PM again - but...

You shoot 10-bit (usually Log) in your camera to give you latitude in your edit to grade to compensate for exposure and colour balance that were issues when you shot initially. It allows you to make 'less than perfect' source material look a lot nicer in post-production. If you shoot 8-bit you don't have this latitude as you only have 25% of the information to do a lot of grading before you hit the limits of an 8-bit structure. If you heavily grade 8-bit material you can quickly hit banding issues, particularly in blue skies and dark shadows.

However just because you shoot 10-bit to allow you to capture video with a dynamic range of 880 values (10-bit 1023 Y range scaled for limited video), rather than a dynamic range of just 220 values (8-bit 255 Y range scaled for limited values), that doesn't mean you have to render/master your final video to 10-bit.

You can chose an 8-bit output output codec from your editing software once you've graded your 10-bit source video and this will map the processed 10-bit (880 values) to 8-bit (220 values), but because you've now optimised the video you shot to look good and had 10-bits to start with, outputting at 8-bit is less of a compromise. If you are using h.264 as an output codec for any reason you will need to use 8-bit output. (h.265 will allow 10-bit and you may chose to use that. BUT lots of people confuse 10-bit with HDR... You need to use 10-bit minimum for HDR, but that doesn't mean that all 10-bit video IS HDR.)

It's the same reasoning as to why you shoot 4:2:2 (to get maximum chroma resolution) but output/master to a 4:2:0 codec for maximum compatibility.

I didn't say anything about frame rate in my posts. this won't magically turn 25p into 50p.

As I've said previously - you have to chose whether you want to shoot 2160p25 with 10-bit to give you more flexibility in the edit, or stay at 2160p50 and have less flexibility to grade in post production, but retain the 50fps 'video' look.

That's your choice. Your camera doesn't shoot 10-bit 2160p50.

Simple choice - frame rate or flexibility in grading in post. Your camera doesn't allow you to have both

You can either shoot 2160p50 8-bit -with the 50fps 'news' look but make sure you get your material as close to perfect as possible as you shoot it OR shoot 2160p25 10-bit - with scope to improve it in post, but with the more 'documentary' 25p frame rate that shows like Blue Planet, Planet Earth etc. shoot in.

But this way I don't get all the framerates I want for a fluid video. But maybe I don't understand you.

No - you won't get all the frame rates you want. You can't have it all with the camera you have. Life's a compromise.

Anyway I will use  the "Advanced" option of HDMI 3 to watch all my videos.

Could you tell me with how many bitrate I have to export from Resolve to get a good video h.265?

If bitrate and storage is no problem I'd probably go for 50Mbs to begin with and see whether you are happy with the results and can see any artefacts. If you see compression artefacts, increase the bitrate. If you don't see artefacts, then decrease it a bit?

50Mbs is a much higher bitrate than Netflix, Amazon, BBC iPlayer etc. use for OTT streaming. I'd try to avoid anything >100Mbs, and anything below 20Mbs is likely to have quite high compression artefacts.

Do some trials with a sequence you know is good quality and has challenging content (movement is challenging, as is content where the picture brightness changes a lot)

In Resolve I don't aply any lut, I use Resolve only to export h.265 files.

Does this mean you are still editing and grading in Edius? Is your workflow to import video to Edius, grade and edit in Edius, then export 8-bit from Edius and take into Resolve to create an h.265/HEVC file because Edius doesn't export h.265?

I attach the requested file exported with Resolve (h.265): https://www.dropbox.com/s/3nflqbtuguqbdy...5.mov?dl=0
But I attach also this clip. It is original GH5 output (not edited): https://www.dropbox.com/s/fq2yw1ug97z5a2...5.MOV?dl=0
I'm not able to modify this clip in a good way. Could you help me please? For me it is almost impossible to do a good grading.
That clip is important for me.

If I use V-Log, can I do grading with waveform only, like a normal clip? Now I use waveform to do grading on every clip.

Yes- though it's just as important to use your eyes as the waveform monitor. I will look at your content this evening.

The last question: if you were me and you had to shoot my documentaries , would you shoot 25p 10bit or 50p 8bit? I already know you answered this question many times, and suggested me to use V-Log and 25p 10bit. But for the moment let's forget the idea of the V-Log (because I don't know if I will be able to do a good grading with the V-Log). These days I'm trying Cinelike D (it has a good latitude, better that other GH5 profiles), it has faded colors like the V-Log but a little less and I am able to do a fair / good grading with it.

Given the challenging locations you shoot in - I'd shoot 2160p25 10-bit log and then grade. I'd also edit in DaVinci Resolve these days as the grading tools in it are very good, and it's now a pretty good editing platform. For V-Log material I think Resolve (if you tell it the material is V-Log) would probably apply a basic LUT to all your media (which maps it from the log range to a Rec 709 range BUT still gives you all the latitude in post to grade it) which brings it to look 'right' but you have a much wider range to change the black levels, white levels, gamma, colour balance etc. before you start losing detail. Because the V-log has captured a much wider dynamic range (more sky detail, more shadow detail etc.) you can then chose what you want to see in the editing process.

[Klojum]

A number of posts have been split off the Nvidia Shield 2019 thread, as things wandered a bit too much in a different direction.