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By eatstoomuchjam · Posted
I was out-of-date and it's not as bad as I remembered, but still not great. But yes, I'd say it's a stretch that professional colorists are spending a lot of time in Nitrate. https://www.filmconvert.com/blog/filmconvert-nitrate-for-aces-workflow/ -
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To what degree is Alexa’s image desired due to its color rendition versus its unbelievable dynamic range? When I see LUTs that attempt to emulate Arri, I like the balance of highlight and shadows but I don’t care for skintones. Again, more green than my brain is biased to.
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Here's a few images from the GF3, not exactly the best video camera in the world, but even it has some nice colour. These are all shot with the Mir 37mm f2.8 with speed booster and wide open, and all shots are SOOC: Obviously these are very challenging conditions with mixed colour temps and low light so the ISO probably wasn't at its native setting either, but not bad. These all look a bit flat to me, even from such an old camera with a low DR compared to now, but my literally my first thought is to increase contrast and then evaluate the saturation. I've analysed GX85 colour before in this thread: https://www.eoshd.com/comments/topic/59121-gx85-alexa-conversion-and-colour-profile-investigations/ The default profiles are like most modern profiles, and bear a resemblance to some of the best colour in the business... GX85 Natural Profile: Alexa: To get a sense of how similar these are, if they were technically correct those lines would go straight to the middle of the reference boxes on the overlay. Obviously they're way off, but in a relatively similar way. Obviously this is a dramatic simplification of the whole colour science, but it gives a sense of it. My experience of the GH5 is that it it a real work-horse and that everything has been thought-through so that it quietly does the job and stays out of your way. The image was practically indestructible, even if you tried. I've posted these previously, but here's what happens if you try to break the image.. Here's the flattest image I could find - SOOC HLG: With the most extreme amount of contrast you can make with the curves tool (literally a vertical line): I think that was the 150Mbps IPB codec too - the 400Mbps ALL-I might be better again. When I had the XC10 and was shooting 8-bit C-Log I was trying and failing to get good colour from it and trying to learn colour grading and colour management etc, and I was watching all these colour grading tutorials of people grading RAW Alexa and RED and BM footage and there was this smoothness and elegance in how it all worked - they adjusted this control and that control and the footage just glided around like it had infinite subtlety and richness in the files, but the XC10 footage was just the opposite. Then I bought the GH5 and the files felt exactly how all those colour grading tutorials looked - the files were just like velvet. Of course, it's not quite as good as the high-end cine cameras, but the footage is seriously malleable and if you know what you're doing then you can really extract great images from it. All modern cameras are like hypercars and most film-making uses only a tiny fraction of their potential. -
Definitely - it's why I like the way Olympus/OMDS IBIS operates on the OM-1 & E-M1 iii. When I use proDAD Mercalli for stabilisation in post I usually choose the 'Glide Cam' option, which gives a floatier feel with lower warping artefacts (and less cropping) than the default 'Universal Cam' setting.
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