In that long thread were about 3 different ... if not more ... issues. Some Mac-centric, and some due to migrating a project forward with LUTs involved, and needing to remove/re-apply the LUTs in the new version. And maybe a couple other things. So it's not particularly helpful with the issue you seem to be having.
To do a real good quality output in a log format takes a lot of data in the media file out of the camera. And something can be technically "10-bit" without having near the data to record in log & then try to do much in post. The GH4 had this issue ... simply too "thin" a data stream into the files to properly work as a log media in post especially for heavy grading.
Which is why Kristian's comment about waiting for the GH5's log use until the firmware for the 400Mbps recording is released is appropriate. That ... hopefully ... will finally give us a GH that can really be professionally useful in log format.
As to the Colorista & FCP varying in their display ... due to the nature of the attempts to match media & software, one program may at times work better with a particular camera's media than another. The GH5 is out on the bleeding edge of compression to get that much data processed & recorded to media in such a small form camera. The software folks have all been struggling with it, and it seems a FCP and Resolve are both handling GH5 media slightly better at this moment ... with certain media settings/styles & workflow combinations. That's due to change at any moment ... it's the nature of the business.
Have you tried creating your own LUTs for working the log back to 'standard' Rec709? I've normally been happier with the LUTs I've created for such things than the manufacturer or 3rd party LUTs. I started doing that just to 'understand' how they work, and well, liked my home-cooking better. But wondered if I was crazy, of course. Talked with a colorist friend, and ... he downloads the manufacturer's LUTs for all the cams he's working with in his regular run of clients ... plays with them using gradient graphics, looking at various curves & such ... and normally, makes his own.
In fact, he'll start a project using his own "base" LUTs for different cams, and modify them to best fit that project as he goes along. Says about half his normal peers do likewise, about half pretty much stick to straight stock LUTs outta-the-box.
Neil
Hi Neil, thanks for the response.
Well I think I solved the issue, it was a tidbit in that post the set my spidey senses off. Metal. I do use a Mac and I was using Metal as the GPU accelerator, and sure enough, as soon as I switched it back to OpenCL or Software Only, that banding in Lumetri Color disappeared. So I can confidently say there is a bug/conflict with Lumetri Color and Metal Acceleration. Now why would a preview accelerator effect the actual encoded footage, I do not know. But it does. It affects the preview in Premiere and affects the output when using Metal. This might explain why it hasn't been discussed much since it's Mac only.
May I ask what method do you recommend when creating your own LUT?
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