BMPCC 4K "artifacts"

Why do I get these nasty artifacts on the wall in Premiere? there is green light from below.
BMPCC 4K with latest firmware.




In Resolve it looks fine

You mean the banding ?

Seems like some limited precision somewhere in the image processing pipeline.
Resolve is definitely known for having good color precision, maybe something in the premiere processing pipeline is limited precision.

Is that BRAW or ProRes ?

It's Prores LT :/

Resolve even makes the man smile!

It's Prores LT :/

but you do realize that proresLT is a highly compressed codec
and therefore banding and artifacts are possible.

Apple ProRes includes the following formats:
• Apple ProRes 4444 XQ: The highest-quality version of Apple ProRes for 4:4:4:4 image sources (including alpha channels), with a very high data rate to preserve the detail in high-dynamic-range imagery generated by today’s highest-quality digital image sensors. Apple ProRes 4444 XQ preserves dynamic ranges several times greater than the dynamic range of Rec. 709 imagery—even against
the rigors of extreme visual effects processing, in which tone-scale blacks or highlights are stretched significantly. Like standard Apple ProRes 4444, this codec supports up to 12 bits per image channel and up to 16 bits for the alpha channel. Apple ProRes 4444 XQ features a target data rate of approximately 500 Mbps for 4:4:4 sources at 1920 x 1080 and 29.97 fps.
Note: Apple ProRes 4444 XQ requires OS X 10.8 Mountain Lion or later.

• Apple ProRes 4444: An extremely high-quality version of Apple ProRes for 4:4:4:4 image sources (including alpha channels). This codec features full-resolution, mastering-quality 4:4:4:4 RGBA color and visual fidelity that is perceptually indistinguishable from the original material. Apple ProRes 4444 is a high-quality solution for storing and exchanging motion graphics and composites, with excellent multigeneration performance and a mathematically lossless alpha channel up to
16 bits. This codec features a remarkably low data rate compared to uncompressed 4:4:4 HD, with a target data rate of approximately 330 Mbps for 4:4:4 sources at 1920 x 1080 and 29.97 fps. It also offers direct encoding of, and decoding to, both RGB and Y’CBCR pixel formats.

• Apple ProRes 422 HQ: A higher-data-rate version of Apple ProRes 422 that preserves visual quality at the same high level as Apple ProRes 4444, but for
4:2:2 image sources. With widespread adoption across the video post-production industry, Apple ProRes 422 HQ offers visually lossless preservation of the highest- quality professional HD video that a single-link HD-SDI signal can carry. This codec supports full-width, 4:2:2 video sources at 10-bit pixel depths, while remaining visually lossless through many generations of decoding and re-encoding. The target data rate of Apple ProRes 422 HQ is approximately 220 Mbps at 1920 x 1080 and 29.97 fps.

• Apple ProRes 422: A high-quality compressed codec offering nearly all the benefits of Apple ProRes 422 HQ, but at 66 percent of the data rate for even better multistream, real-time editing performance. The target data rate of Apple ProRes 422 is approximately 147 Mbps at 1920 x 1080 and 29.97 fps.

• Apple ProRes 422 LT: A more highly compressed codec than Apple ProRes 422, with roughly 70 percent of the data rate and 30 percent smaller file sizes. This codec is perfect for environments where storage capacity and data rate are at a premium. The target data rate of Apple ProRes 422 LT is approximately 102 Mbps at 1920 x 1080 and 29.97 fps.

• Apple ProRes 422 Proxy: An even more highly compressed codec than Apple ProRes 422 LT, intended for use in offline workflows that require low data rates but full-resolution video. The target data rate of Apple ProRes 422 Proxy is approximately 45 Mbps at 1920 x 1080 and 29.97 fps.

Screenshot 2021-04-28 at 17.13.37.jpg (135.45 KiB) Viewed 1741 times

It's Prores LT :/

but you do realize that proresLT is a highly compressed codec
and therefore banding and artifacts are possible.

Sure, but for Resolve it's not a problem )

I'm 99% sure that banding isn't anything to do with the ProResLT codec (which is 10bit despite the relatively high spatial compression). Looks to me like the Premiere Pro viewer is either only displaying in 8bit or only processing in 8bit. Try exporting the file from Premiere to a 10bit codec and taking a look on a display pipeline that you can confirm is 10bit. If there's no banding on that export, then you can be relatively certain that the banding is just an artifact of the viewer in Premiere.

Sure, but for Resolve it's not a problem )

Any form of lossy video compression inevitably produces various degrees of colour banding – sometimes it’s visibly terrible and other times it’s borderline imperceptible.

Although Resolve is clearly handling it better in situ, your deliverable is likely to have the same issue depending on which codec and wrapper will be used.

My tests show that if grain is used as a mode of dithering then Resolve outputs a good quality deliverable file. The difference is particularly significant for widely used wrappers and codecs such as MP4 and H.264.

In the OFX plugin I generally set all parameters to zero apart from offset, symmetry, and strength, which is to taste. This works particularly well along with temporal noise reduction, which of course precedes the grain node.

Are those screen grabs for Premiere Pro preview and Resolve preview or screen grabs of the output file ? In the latter case you also need to compare the output codecs encoding settings used.

Alternatively, use Blackmagic RAW for Premiere Pro . With the BRAW Source Settings it will be directly graded with the plugin

As far as I remember in Premiere in the sequence settings you have to check "always render at best quality" or something like this. For default, or at least very often this is not checked and results in poor quality exports. But since Adobe moved into the cloud I abandoned all of their products so this relates to Premiere CS6.
I use Premiere only occasionally when I have to change framerates, as this does not work with Davinci (only image will change framerate, not sound => out of sync). This right now seems to me the only reason to choose Premiere over DaVinci...

If these are screen grabs you are looking at the display rather than the image. As stated you have to have render to max quality ticked and also make sure your render codec is a good quality one. I assume these images are after a timeline render pass?
At the chance of stating the obvious - why not just use Resolve?

As far as I remember in Premiere in the sequence settings you have to check "always render at best quality" or something like this. For default, or at least very often this is not checked and results in poor quality exports. But since Adobe moved into the cloud I abandoned all of their products so this relates to Premiere CS6.
I use Premiere only occasionally when I have to change framerates, as this does not work with Davinci (only image will change framerate, not sound => out of sync). This right now seems to me the only reason to choose Premiere over DaVinci...

Not necessarily, this is the benefit of using the Source Settings, whether it be BMD plugin "Blackmagic RAW" or our product "BRAW Studio for Adobe CC", because we do the color grading in the native bit depth at high quality, and output a graded 8 bpc to Premiere Pro to edit with. It shouldn't display those banding, unless you add another effect on top of the .braw (Lumetri for example and applying heavy corrections)