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I've been using 5D3 Magic Lantern RAW for a few years now and it's my personal gold standard for image quality as I'm very familiar with it, can predict the results I'll get in various situations and have developed my own look that I like using in post. I do a lot of documentary and corporate stuff and wanted to do more handheld, so I got the GH5 for its IBIS, 10bit V-Log, 4K and general ease of use. Although the GH5's colour is an improvement on its predecessors, the 5D3 is nicer looking to me. So I wanted to see if I could tweak the GH5's VLog colour to be more similar to the colour I get from Magic Lantern Cinelog-C, processed via Adobe Camera Raw (other debayering workflows will give different results). I shot a chart with both cameras, extracted the squares and put them side by side in Resolve. V-Log on the left, ML on the right: I used Hue v Hue and Hue v Sat to line up the signal on the vectorscope: Here you can see the effect of this correction.This is accurately white balanced V-Log (default colour) with a curve and saturation added: And here's the same shot with the colour correction applied: Skin goes from green-ish to pink-ish. Reds become more saturated, blues are pulled back. Foliage separates out into varying shades of yellow to green to blue-sh green, rather than being one big block of pure green. So next, I wanted to test this by comparing the same shots to Magic Lantern RAW. Would this correction really turn my GH5 into a handheld and more usable version of my 5D3? I stuck the GH5 on top of the 5D3. I shot the 5D3 at 3520 x 1320 (the maximum resolution I can get that's both continuous and at a sensible aspect ratio) - this has a crop factor of 1.63x. ISO was 100, and aperture at f5.6 on the Canon 24-105. The GH5 was 10 bit V-Log, Cinema 4K, ISO 400, aperture f4 (roughly equivalent) on the Leica 12-60. I used shutter speed to control exposure, so motion blur is different between shots. It seems like the GH5 has around 0.66 stops more info in the highlights at the same exposure as the 5D, so I shot it one stop over to maximise DR. First I corrected the 5D shots to the way I wanted them to look. Then I tried to get the GH5 to match. It's not a perfect match by any means, there are individual hues that tend to go awry a little, especially in the first shot. But for me the exercise is a success: the GH5 footage looks more like Canon Magic Lantern than it would straight out of the camera. And I would be happy to intercut the two, or to use the GH5 in situations that are more suited to its features. The take home message is that V-Log has a lot of grading potential - you're not necessarily stuck with Panasonic's colours on this camera. A nice surprise for me was how much detail is in the 3.5K 5D files compared to Cinema 4K GH5, especially when sharpened. However, it's not very practical to shoot in its high resolution modes at the moment, due to the slow refresh rate of the LCD preview. If you want to check out the files yourself, here are a series of matched pairs of 5D DNGs, and GH5 V-Log TIFFS. FOLDER: https://drive.google.com/open?id=0B1exEpCRAfgFdi1FZ3hma09YZms ALL FILES ZIPPED: https://drive.google.com/open?id=0BwzsbjMgrAwzTFJZby0xSTV6VmM

I think one of the biggest misconceptions about 5D3 ML Raw is that it is difficult to shoot with, but in reality, once everything is set up, it is the simplest camera to operate. And even though there are a few extra post steps, color work is pretty simple and straightforward as well.

Thanks @hyalinejim I finally think about considering the GH5 again. These don't look terrible and oversharpened and some further colorgrading and filtering leads to really nice results (with good skintones actually).

Everyone is waiting for the reveal to tell AFTER that: "5D has waaaay better colours" :P Awesome job hyalinejim! I hope some day you will get a Sony camera in your hands!

This is exactly how I use my NX500, the small, compact size and silent shutter make it an awesome stills camera, very easy to put on a small travel tripod and just shoot away on location. It is also my main vacation/walkaround stills camera for the same reason. The dynamic range of this camera is truly awesome; as long as you can protect the highlights, at low ISO's, the shadows can be raised 100% in Lightroom with no visible noise of any kind. In this video here, one of my NX500 timelapses starts at 3:52, and there are two more starting at 5:08.

The Varicam sensor crushes the C100/FS7/FS5's. $6500 is a great price. They'd have to cripple something in order to not cannibalize the Varicam LT.

Either way, I've downloaded your sample and still find the need to add extra blur... :-)

Filmconvert at 16mm, lowered opacity to 0.4 since sharpening is quite strong in this sample. Only used blur and grain, filmcolor and curve deactivated.

Never shoot above 1600 ISO unless you must, avoid anything above 3200 at all cost you will destroy your image. Change all settings in colours to R1.00 G0.95 B1.00 these are the colour settings because the cameras have green bias you will loose a lot of vibrant green colours. You can also do 0.90 with green works just fine too depends on what you prefer. Also get the hack either Kinoseed which is easiest to install but slowest to initiate at startup or Vasile's hack which is ultra fast but does not have as many features for picture mode. It sort of help with the loss of information duo to high ISO use, but most importantly it reduces compression artefacts in footage greatly.

worked a bit on the GH5 shot, especially highlights and rolloff which clipped into green. Still looks too oversharpened, but apart from that quite nice actually. This is the latest version, must say I'm actually quite impressed by the color now. :D

Yes, but it's a bit slow to import the files straight out of camera, so I use the rewrap method posted by @Orangenz https://www.dropbox.com/s/nt2uqr5pp9xi1st/GH5 10 bit fix.pdf?dl=0

Your tiff screenshots look way better and less processed than the video uploaded in the GH5 vs. BM46k thread. Am wondering now.

im kind of glad they dont listen lol. its for the cool kids ?

Yep... people who have never shot it. They probably read a 5year old Cinema 5D (or similar) article about it and haven't given it a go. With MLVFS it's actually eaiser than shooting with GH5 4K 60p files because they edit seamlessly and without any conversion . But hey people (like me) have only said this over and over again on this forum and other places (MLforum)... people just don't listen.

Wow. That's... pretty bad. Rolling shutter is something I always research before buying a camera, and after seeing that link I'm glad I haven't gotten the 5D4. My 1DX2 is certainly expensive, but it does just fine with fast motion.

Hey that's my review! Thanks for the share!

Here is the LUT for colour correction only - the V-Log gamma remains unchanged. This should be first in your post pipeline. https://drive.google.com/open?id=0B1exEpCRAfgFcVdtSXhRdmJvalE

Agreed. @AaronChicago, what about NR on your capture settings? In any case, Ursa samples don't fully rule out either. A bit less, though. As already posted before, everyone can check it out by their own, Pot player does the trick for preview: Ctrl+B. No need much effort... Try it guys, your eyes can only stay grateful : ) Aka 'the GH5 playback filter' when we don't apply our homework earlier. Kidding or keeping the topic here a bit lighthearted anyways, this stuff is not so straight out the box as we can only dream for.

@hyalinejim that cover screenshot on Vimeo is on point! That shot itself is epic.

Well...we'll just have to wait for the reveal...do I sense a wager for a beer in your response??? agreed on black dot in sun by the way...it's in the first clip...in the GH5 clip (2nd if I'm right ) it's blown out because it's the sun!...whatever camera that is, the detail maintained in the shadows in that shot is interesting...ok who owes who a beer here?

OK...I'll bite??5D first....GH5 2nd....regardless your grade looks good!....it also shows just how well the GH 5 10bit holds up against the 14bit?? In ML 5D

Something for @mercer EDIT: apparently has its own topic here: http://eoshd.com/comments/topic/24803-improving-gh5-colour-comparison-with-5d3-raw/

I just used Resolve to build the correction. I used After Effects to do the grading and to export the VLog TIFFs (which are identical to the MOVs in a Rec709 workspace).

Oops! I forgot to mention that!

Yes, there is no way to change it, unfortunately it is somewhere deep inside, hidden and unable to manipulate it! This is what I call a Unicorn lens, very groundbreaking characteristics, great combo and performance together. The green color I set in 0.95 (instead of 1), you know that you can change most things in every profile? I mostly shoot 1080p for various reasons, so if people have more advices about the super sharp UHD modes can contribute more.

Jon thank you for advice

I think the logical upgrade to a 1DC is the 1DMKii. The two handle the same. All lenses are native. If you are comfortable with the 1DC you will be at home with the 1DXMKii. I also suspect it will not be made obsolete every six months like Sony cameras. So it should retain reasonable value. If you can't get the job done with a 1DXMKii, then it's time to consider refining your skills.

Well I guess you ought to know, you seem to be getting some damn good footage out of one.

Well I guess a lot depends on if you plan on using any long, heavier lenses now, or in the future. the 1D series is way better for that purpose. The 5D mkIV works for shorter lenses, but I doubt the weight difference is that much of a saving over the 1D. I don't have much of a love for either one. I agree with IronFilm, they both are just too overpriced for video use for what you get. Canon in reality just doesn't give a shit about video for anything they make, unless it starts with a C---. And even the C series seems gimped as hell at times. I have no clue what they think about in a Boardroom meeting about video?? I think maybe They are clueless at times. They sure as heck are not market leaders in Video. Sony has that honor by miles. But I think everyone needs to pick up the pace that is behind in video. I am sure even Still Digital cameras will be using Video in a sense, just lke the 6k Photo mode mode is in the GH5. People will just take bursts of video and pick out the best for Photos.

140mm (280eq) on my GX80 is miles ahead stability wise than the 200mm f4 on my A7sii - different planet altogether.

Yes....I bought the PL 12-60 for commercial work, but this lens is in a whole different class...

Yep, and still it could be too expensive if it is indeed aimed at the C100 MKII/ FS5 crowd. Unless we see some extra features like high framerates and so on, I doubt the Varicam badge is incentive enough. For that price you are getting close to the FS7 or FS5 with Raw recording... not to mention the gap with the C100 or a rumoured C200.

I think JVC has the potential to change the game for the mid priced market if they do it right. Currently they are big in the ENG field, which is their bread and butter, but with the release of their GYLS300 they have brought to market an affordable "enthusiasts" cinema camera. So just like Sony, in the beginning they weren't taking serious, now look at them now.

Thats a side way move imho . Unless you are upgrading to the 1DXMK2. No point going from the 1DC to the 5MkIV. The C-log is welcomed addition but what else? If the 5DMKIV gets hacked by ML. Then, I will consider it.

Sure, any other laws of physics you'd like me also break for you? Faster than light travel? Apples to fall upwards? Kiwis to fly?

The reason there is so much amazing footage and shitty footage from the GH5 is because it is an amazing but cheap camera. Thus you have both skilled and total n00bs using it! Remember it is not all about the camera, but the hands using it.

What would the point be then? Well, seems obvious then, 4K is always welcome or no one would ever bother to request for someone hacking it, isn't it? ; ) Don, buy your mini-Varicam! (E :-)

That's why I don't care when people praise the big boobies as the best when not the only girls in town. No Alexa will give you the mini-Varicam can. Once again, the best camera is that one in your hands when you're able to push the trigger. Don't impress too much on some opinions you read over here. I've read a few nonsense apparently even not from the usual suspects. They just want to justify their own choices. Dictated by their own circumstances, not yours :-)

Not sure about sharpening but for contrast, sure can. Just alter your favourite lut, save it as vlt, and there you go. Use the altered vlt for monitor, real one for post. Nice idea! Great wholistic review up from the Northrups. Huge work into it, very impressive.

:-D You know, I don't post your videos anymore here because you're around. But, you were the first one to say no to that misinformation spread by MY on YT. I only refer tap to focus because there's no how to blame CDAF for. And it works perfectly well for the automation job :-) Funny coincidence. Here's another one I find pretty interesting from a 20 bucks lens:

You're absolutely right. Same feeling here. You know, people think they are able to mimic Hollywood straight out of the box ; ) I share Dennis' (@deezid) perspective, though, not as much skeptical as him. My only beef with GH5 is not the pathetic plot over AF, obviously. But, its over processed outcome; POV I concur. See: And: I still believe this camera is able to produce the best current offer in competent hands.

Right. No camera yet. All that comes from the videos I've seen and my own experience with other cameras and also the former models to second the thing : ) Trust me, GH5 is the best bang for the buck you can buy in May 2017 :-)

i know is always better and comfortable change batteries, but what you can do is use a dirty cheap usb charger and connect while record,i recommend start recording and plug in in 100%, the carger arent powerfull enought to charge while you record, but let the battery dont discharge so fast.

Install the miraizon codec to sony vegas and you can render every prores format, uncompress, hq, 422, lt, proxy.

Actually, I just thought of a great idea! Since you're based in Los Angeles as well, how about I swing by one of your shoots with a light? Coincidentally, the Aputure product manager and I are already doing a tour of film sets in Los Angeles anyways. Seems like you've done your homework on lights so you could give us your input and feedback, which would be invaluable. Likewise, regarding your questions, the product manager is better suited to have this kind of a discussion with you anyways. You can post your findings back here afterwards. Send me an email at ted.sim@aputure.com. Let's do this!

Okay. Just curious -- did you originate the reference to a redhead and blonde, or did someone else say that? That sounds like less than 1/3 the output of a 1K, Mole Mickey (or a 1K Lowel DP-light) at full flood. With a Mickey at full spot, the brightness of that LED panel is probably fractional compared to that of a Mickey (and of a DP-light). Certainly, something that small and inexpensive has a unique utility. However, keep in mind that a small 200W Lowel Pro-Light at full flood has around twice the rated brightness of the AL-H198, with a lot more coverage/output. With a Pro-light at full spot, that AL-H198 brightness is fractional. Actually, there currently is no way for us to assess the output of the 120T, as no one but Aputure knows the meaning of that "brightness average" figure. As I have stated before in this thread, it is common/proper to give a light reading(s) along with the beam angle delineated by where it drops to 50% of its brightest point -- that the only useful way to present photometrics. Some manufacturers avoid giving this simple, straightforward measurement, because the actual output of their fixture is disappointing. A light reading at 1/2 meter is not particularly useful, but we can use more distant readings from the LS1 chart that you provided to make some sort of comparison. We don't actually know how Aputure is delineating the beam angle, so we really can't assess the overall output of the LS1. If they are using the 10% beam angle delineation method, than the figures will make the fixture seem like it has a lot more punch than it actually puts out. Also, it is interesting how the chart seems to show the beam angle varying with the given distances. The 3 meter (9.84 feet) reading on that chart shows 120fc with a rated beam diameter of 1.6 meters (5.25 feet) and a beam angle of 25 degrees. At a slightly longer distance of 10 feet, the 1k Mole Mickey is rated at 1220fc with a beam diameter of 3 feet (0.91 meters). That Mickey footcandle rating from a slightly longer distance is over 10 times greater than that of LS1! Now, we would need to flood out the Mickey slightly for its beam diameter to more closely match that of the LS1, but no doubt the Mickey's brightness will still be many times the brightness of the LS1 after that adjustment. We can also compare the 1k Lowel DP. That fixture is rated at 711fc at 3 meters, with a 20 degree beam angle. That beam angle will give about a slightly larger beam diameter than 1 meter, so we will back off of the flood setting a little less than we did for the Mickey. Starting with 711fc, the DP-light must still be at least a couple of stops brighter than the 120fc of the LS1. So, the notion that the LS1 has a brightness "which is almost equal to a traditional 1000W tungsten" is false. Furthermore, note that we are actually comparing brightness (and rated beam angles) -- not total output. Total output requires the beam angle to be properly delineated. Mole-Richardson and Lowel use the 50% method, but Aputure might use a method that isn't as stringent. Apututre doesn't state the beam angle delineation method with that photometric chart. Here are the Mickey and DP-light photometric charts with their beam angle delineation statements. These are solid charts with nothing squirrely. Mole Mickey: Lowel DP-light: I did not intend to make you look disingenuous (and I don't think that I did so). There are some manufacturers who enjoy a bit of a reality distortion field, and folks occasionally get a little over-enthused and sometimes parrot what they read/hear from a company's marketing. I figured that is what happened with your statement about the redhead/blonde. By the way, thanks for the personal dig!:

@Ted from Aputure Thank you for joining the forum. I commend Aputure for the new 120T's compatibility with the Bowens accessories. Even though I don't have any Bowens gear, it's always smart and beneficial to both manufacturers to share accessories (especially between a strobe and constant line). I have noticed that kind of cooperation in the past between Profoto, Lowel, Dynalite and Speedotron. It is interesting that the 120T has a separate power pack. You and @squig have claimed that the 120T is comparable to a redhead and a blonde. Could you please post the photometrics on your 120T, using the standard beam angle delineation of 50% (one stop down) from the brightest point? It would be helpful if you could include a range of distances -- 1.5 meters, 3 meters, 4.5 meters, 6 meters, etc. Full spot and full flood readings would be great. Thanks!

Hey Jonesy! Ted here from Aputure. Didn't get a chance to meet you at the show, but really glad that Jeremy could show you all the new tech. Thanks for the write-up and love. It really means a ton to us. If you don't already know about it, we're got a user group on facebook-- not unlike Black Magic -- where we collect feedback and discuss Aputure stuff. I want to start up a live-stream once a week where we can all discuss what you guys are looking for so we can keep making it. Cheers, Ted

Tungsten vs LED... umm, like always it depends on workflows... cableless mobility and low heat are the big ones for me (my tungsten lights are rotting in the cupboard). LED cri is up there now, and running something like an Aputure 120T on a V-lock battery makes a lot of sense to me. The days of... hiding cables/ endless sauna sessions/ wearing gloves all the time/ having someone at the fusebox/ using generators... are over, and I don't miss them at all. Higher price seems like the only true "Con" for the latest LEDs, but I think they worth every penny. That's my two cents.