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I was wandering around a Chinese filmmaking forum and someone said that he found a bug in the firmware 2.3 and unlocked V-log L for free. So I came back home and tried. It really worked. Just did a test shot with Hugo in the sofa and loaded it in resolve with the Vlog lut and did a little adjustment. Here are the before and after frames.

This is really hilarious. What a blunderous end to the saga! I had to return to the forum just to express my amusement. I've written a quick, very basic set of instructions on how to enable V-Log on my own blog (before I saw the Reddit link).

worked on mine... and now I'm going to buy it, after spending 5 minutes with it... it's brilliant! I gotta say if this wasn't a ploy to drive up sales it should've been!!

I got another hint for you, Custom profile :-)

They went to all of the trouble to update through a physical key, and it's already hacked. Someone is getting fired today.

Or you can just grade in DaVinci Resolve.

the worst news for them is the gh4R! If they do make it free in response (which I don't think will happen), the new pre-installed LOG ver, which cost more, is DOA...

yeah it'd be silly to delete this whole thread. I come here for interesting news, and this is interesting. actually a lot of people on here taking Panasonic's side and saying this is stealing, which you may not have happened at all on another forum. the actual instructions provided in the thread were "hey.. this is possible, figure it out". so yeah, legal trouble would be ridiculous. and honestly don't blame anyone for taking advantage of it.

Would love to see a user review with new firmware. That zoom rocker thing is also cool as hell imo.

I like my E-M5II so far, although I need more time with it. I still prefer the image from my LX-100, by far, but the Olympus colours (to me) look much more natural. I need to do some more testing though. I hope Olympus continues to tighten up their video image to make it look as good as their stills.

I am glad Olympus keeps improving video. If the next upgrade improves the resolution then it would be a very nice package for handheld shots. Sony cannot match the "god-mode" ibis that Olympus provides.

Of course, variables count. We can't live without them. The same way there'll always be higher bitrate if we change from 4:2:0 to 4:2:2, obviously. On that test, can the difference between codecs, bitrate, etc bring the "whole" difference there? As sunyata wrote three times, maybe. No trouble to second it. Why shouldn't we? What do we have here? Two different teams pretending to themselves their shirt is prettier than the other side? Your loved doll (higher bit depth) is not less mine. Who can say differently? Who would go from Alexa to 8-bit? C'mon. My beef is with the misconception only 10-bit is the miracle to save your footage from 8-bit banding. This is inaccurate. Countless examples going to the big screen since film has been replaced there (no one is saying it beats film or you said someone said). Dogma falling down? Is that the problem? Something different to believe? And that test fits the case. Beyond 4:2:2 vs 10-bit (a less careful reading has brought your light approach and carefree misinterpretation on the topic of the discussion), with higher bitrate, yeah, better codec and so on. Beware, the devil is in the details. In behalf of the topic here, ML hack proves these capture devices can top other than the crippled 4:2:0 offer. For some reason, they don't implement it in their more affordable line. OP and article's point. Very accurate BTW.

Since I'm a hybrid shooter, this is very interesting to me. The EM5ii, is starting to look like a viable option for me now. I just wish they could add at least some time limited 4K, maybe like Panasonic did with LX100. Obviously this would be very useful for filming in certain scenarios, but also a 4K photo mode would be very welcome.

Thanks for sharing the method. (?!) Panasonic coming up with such a cumbersome workaround to upgrade so it can't be hacked and then... voilá. Still. If you support their efforts bringing it in the first place, you might as well tip them for it. (I already paid for mine, it's just silly that the camera already has it, but I can't use it until Panasonic ships out my key, so yeah it's nice to have an early preview)

It's all in what you do with it...

OUCH. What a bunch of losers we all are.

Mate, so you decide to be my tutor and correct my nonstandard English? LOL C'mon, give a break to your own sanity for your own sake. Yes, it happens people to have some other mother tongue. Your point is? I guess I've just started to repeat myself. We had crossed each other in some other thread earlier today, isn't it? Let me see, the discussion let you move it to here?! ;-) For the sake of your spontaneous invectives, who wrote "the single credible authority on cinematography"?? You : P And don't be disrespectful with EOSHD or you are with every single member used to post here. Go figure if someone would dare to subjectively criticize your own. Ad hominem atacks are a very dirty sport to begin with. They tell a lot about the quality of the man behind an alias. My name and background is in my signature. Yours? Who is the man I have now the commission to chat with? Be a gentleman to this community and reach me on my PM box. You can try to send your message in my native language in order to clear up the things a little bit to me... haha

And most of the industry. https://vimeo.com/106153701 Seriously dude, let it go. 4K is nice to have, not need to have. Compression, color depth, bit depth, DR, and color science matter much more.

Here is another example only to show that the codec and bitrate play a big role for banding . So when comparing footage is always crucial to match these. Took a 10bit 4K GH4 sample, transcoded to 3 different 1080p, matched histograms (as close as I could) and graded with the same LUT.

Fotga DP 500 II S. One of the best CHEAP FF units I have used. And have heard from many places that "if you are in need of cheap one, buy Fotga". https://m.youtube.com/watch?v=0z6euUeiVXA

No association with REDSTAN, other than a very happy customer! I previously ordered a Vid Atlantic "kit". When it arrived, I immediately noticed the set screws for the scope are metal. Bummer. Shrug, proceeded to get it to mount, no success, it doesn't fit either my Sankor 16F, nor my Kowa Bell & Howell. I was really bummered out now. Received the REDSTAN clamp, the first obvious thing when opening the package, it is a PROPER qualitiy machined solution, NOT a hacked extension tube, as with the Vid Atlantic. The quality difference is night and day. Installing the REDSTAN clamp to my Kowa B&H, it was a perfect fit from the start. And NO metal scope adjustment set screws! I would think that most people here already know this information. Just thought I'd share my experience for others who don't.

I've seen 3rd party VLog LUTs for the GH4, where did the official one come from? (Do you mean the Varicam35 one, it's just you said GH4-specific?) Since it's completely out of the bag as of Erik's post here's the reddit link where they talk about the zebras (plus how to enable it): https://www.reddit.com/r/Filmmakers/comments/3l1qab/panasonic_gh4_vlogl_available_for_free_just/

This is crazy! I bought the update so I don't feel bad getting it early. :-D If you like pictures I did a how to do it post here. http://eriknaso.com/2015/09/15/huge-mistake-makes-v-log-l-free-on-panasonic-gh4/ Hard part is that dang app! PITA.

http://store.pixelfilmstudios.com/plugin/fcpx-lut-loader This is free for a limited time ^^^ normally $50.

Thanks. I have the Impulz Pro package, so I am out of luck. Maybe I'll look around and see if that particular LUT maybe, you know, fell off an Internet truck.

Well if it only records to RED mini mags...that's $1k + worth of recording media right there. Saying that, let's see what they do. Knock on effect is always advantage for end users wanting to buy (any brand). Pretty soon 4k cameras will come free in a box of cereal.

Log profiles generally retain way more noise in shadows than other gammas. If you prefer other profiles that's totally fine. It's all up to your workflow and personal preference anyway. In terms of this being not the actual version of the V log gamma, I hardly think that will be the case because its from their official firmware and Panasonic has already admitted that this was a mess up on their part

LOL On target. The point in behalf of 4K adoption. Anyway. Bitrate is much important than apparently seems. Especially if your target is a bigger screen. And for certain 8-bit hassles for sure. No one here is in love with low bit depth. It is much more to try to survive with. There's something some of you tend to neglect. High-end is done with well-fed crews, lots of resources, etc. Which means to make poorer the scope of your communication because your audience becomes wider and you'll need to reach a much larger group of people to pay the bill of your investors. Most part of these viewers with no much more than basic visual literacy. I will only give you an example though. Who from here knows José Padilha, the guy who made the last Robocop and the most recent Netflix series Narcos*? Have you ever seen his Bus 174 masterpiece? (the guy weren't born inside the mainstream) - E :-) * as producer, the first two episodes as director

For some reason, Ursa Mini is 3x the weight of the other... (and so on)

I do feel a bit sorry for them. Maybe they should come out and be honest about needing to cover costs and setup a donations page. If not I will probably try and buy another Panasonic lens or something. The camera with V Log for £750 currently is on a par with the BMPCC half price deal last year,so maybe they will sell lots more to make up for it.

I torrent movies all the time, but I only do it after I've already bought the Blu-Ray. Why? Because those Ultraviolet digital downloads are a ton of work to redeem and transfer to other devices. I feel like I've already done my part and supported the movie, so I'm not doing anything wrong by putting it on my computer in a different form. Likewise, I wouldn't feel bad for downloading V-LOG L this way if I already paid my $99. If I just used this method to avoid all the hassle of the official upgrade procedure, no one gets a raw deal: Panasonic has their $99, I have what I paid for. But Tugela is right: Panasonic is going out on a limb with this upgrade. Manufacturers generally wait until the next product iteration to add new features, and Panasonic certainly could have. If we want to reward them for this strategy, the only way to vote is with our wallets. Otherwise, we're not going to get a deal this good next time.

Reason why the external 4:2:2 recording route is the best option available to avoid 8-bit banding. No matter the allergy of a bunch towards low bit depth. This will never happen without new hardware which depends on other variables. Go figure, when the new 4K in-camera from Sony overheats... Packaged in their mirrorless full frame form factor, versus the much smaller BMPCC's sensor size. Apart the fact, Samsung is the only one to enable H.265 acquisition for the simple reason they have no high-end to protect. That is, if we want a solution for real, get that one your hands can reach. If we want a realistic approach, of course, other than wishful thinking on forums.

mokay. you weren't the only one that said it. that's a fine opinion too.

Thanks to Panasonic. Seems like they went to so much trouble to secure it lol. This isn't even a hack, there is no grey area. It is obvious and freely available. No need to delete this thread imho. It is the same thing as a shop putting a 0 cents price sticker on a product: obvious mistake but you would be crazy not to take what is being offered to you. I will of course pay, just like everyone else on this forum. And just like everyone else I never pee in swimming pools Perfect timing for me as I have a shoot planned for tomorrow. God damn the image is flat- going to be a lot of fun with the brand new finished Resolve 12. It's like Christmas in July September

Cool, I have to play around with the shots that I've taken with this camera. Sometime soon... I uploaded a couple of more (extremely boring) shots. Sorry, grey day here and not a lot of contrast/colour. Maybe Fuzzynormal or someone else will have some better images for you to play with. I guess this will all change with the new E-M5II firmware. Hopefully Olympus does a good flat picture profile implementation!

Will & an h.265 encoder chip. After seeing what Sony is capable of. SD cards can support ~240Mbps that 4K 10bit footage can conform to with the h.265 codec "easily". Doubt it. For the solution I mentioned before, it will need dedicated hardware. P.S. Just saw that they will enable the uncompressed RAW is stills: http://***URL removed***/articles/7665355870/sony-brings-uncompressed-raw-to-a7s-ii-and-a7r-ii So if we keep complaining for 10bits we might see it someday .

Going to downtown Chicago now to shoot some V Log

Found a workaround : save the v-log preset as "standard" profile. Next time you'll have it saved on the STD profile even if you change the picture mode.

I shoot 4K and imo the benefit is mostly for youtube since it gives a higher bitrate. With that said, yesterday I re watched The Room for the 100th time, this time on Blue-Ray. That film has everything working against it, the lighting is bad, the set is bad, the locations is bad. But still I couldn't help notice how the s35mm film still simply killed.. scratch that.. Kidnapped, tortured and murdered the look of any 4K video out there. Im such a sucker for the look of film its unbelievable. Don't know why I posted it here, but it was the thoughts that came to mind after reading this thread.

I used the Sony AS7 in SLog2 for 1 year. I shot two 52-minutes documentaries for French TV. 4 months ago, colorists using Da Vinci Resolve (they are 3 in Chanel 2) all said "PLEASE stop using the Sony A7SII, the colors are horrible! Calibration is a headache for us because skin tones are infamous 9 times out of 10, and it seems it lacks colors in each image ... ". I love my A7SII because it is compact, convenient, and that images always appear Detailed me. I yielded to their request: this summer, I rented a Canon 1DC. And surprise, I seem to have discovered what a palette of deep colors! The tones are warm, bright and the result after calibration is staggering beauty. I sulked Canon for 2 years. So, I kept my A7S to film my kids and take some pictures sometimes. Ok Canon is a company that is not listening to its users. Ok Canon provides only the minimum. But Canon has realized that the most important, beyond the technical advances, it is the science of color.

Not being a big deal doesn't equal loser. It means you aren't a big deal. Most people aren't (me included) And it's true. The likelihood of the top of the food chain type of folk posting here is rare. But that's ok. We're all in the same boat, trying to get better and learn a thing or two. Still important to maintain perspective.

I think it's the one! Thanks Teemu, thanks Bold!

Thanks for posting the link. I am not sure how to properly describe, but to me, the footage seems unique and rich. Like it was baked in with a slower shutter speed or something. I find it impressive also. The nationality, the skin tones, of the subjects captured seems ideal for this early example.

?

You guys have probably already seen this, but WOW. Looks fantastic. One shot with moire is curious, but other than that I'm super impressed. https://vimeo.com/139130557

yeah i figured it would be named after a wrestler

please show the same test in colour? :-)

So, we have here a very demanding viewer... LOL : ) You are right. This or that camera can give you less than what you're looking for. But. There's no 'pictures' without post. This doesn't exist. And if exists, you can't complain. Much effort on post is mandatory. And that is the territory where you can provide the deterritorialization for reterritorialization* of your material, as you wish (e.g. that Japanese sample/video). For a simple reason, flat is higher because comprehends the wider. Hence the fashionable logs nowadays. Straight out of the box means nothing. What are we expecting for? Godard said motion picture is the truth 24 frames a second. He was right but only in a half. The other half is that actually is a big lie whatever frames you decide to tell. How can't they give you what you're looking for? Trust me, you're just looking for a decent capture device and post. It is useless to say I like this or that camera in a way or another. The best you can say to yourself is if that camera is decent for your purpose/proposal or not. Believe me that you'll find a lot of decent cameras in the track. The trouble is when we blame technology when this one is already available. It only requires much work to find out the best balance and know-how from all of it. No teal + orange stamp (others would call it look of their own which makes them happy with) will affect the countless options on your choices of and for your set(up). BTW, Ed is very good & versatile. E :-) * https://en.wikipedia.org/wiki/Deterritorialization https://en.wikipedia.org/wiki/Reterritorialization

Im not talking about anything that comes from post. im talking about camera output. more on that later just talkin about in camera color rn tho nothing could be further from the truth. i want a high level of color accuracy for reproducing sets, costuming, and prop elements (which were very expensive and time consuming to make). i want nature to look like nature, i dont want to have to avoid shooting something as common as a F------ BLUE SKY for any reason, i want people to look awesome, and healthy, like actual living creatures with blood running through their veins fyi im capable of being extremely critical of the alexa, everybodys favorite movie camera. im not a mark; i know what i want and im gonna keep bitching until i get it, thats my job as a consumer. after TONS of bitching from us all about slog2 on the a7s, heres slog3 on its successor –– no coincidence. anyway, i digress, just saying that youre a bit unclear on what im "looking for" these video reinforce my point: ive seen em, not impressed. at all. im not into retro luts or affected color grading, thats a fine option –– but i described above what i want from a digital video camera but then again –– some feature filmmakers are going to map all their colors to teal and orange in their edit, and for them this shit doesnt rlly matter too much. slog2 is great for black and white work ive made some beautiful stuff

The 4.6k is a little outta my price range, but the 4K version at around 3,000 euros is very tempting. Probably about 4,200 euros with the add ons, but still, great value - potentially.