AaronChicago

What's new with the G4? (honest question, I'm not an audiophile)

The plot is good. I love the story of the prequels, but the execution wasn’t very good. I think Lucasfilm took note of the over CGI’d production backlash and went back to practical sets in the Force Awakens.

I would bet there's not a single frame in Episode II that is completely practical.

Question for all of you that have been using HLG. What is the input color space and output color space? When I'm looking at an HLG file in Resolve it seem's pretty decent while working in HLG color timeline, but there's no option for HLG output. Rec2020, Rec2100 looks bad. The colors are all shifted. Output to Rec709 looks good but I'm not seeing any  more DR on that output than VLogL.

Update: I found that using Rec2100 as the input and output is key. It's hard to see any difference on my Rec709 monitor but I'm getting a decklink hooked up to view HDR on the Atomos Inferno.

50 minutes ago, PannySVHS said:

@AaronChicago Thank you for posting! How did you come up with all the settings?

Juan Melaras introduced this technique for BMD Film and Arri Log C. It works the same with V Log.

I was able to do a quick comparison with the GH5 before I sold it and the highlight rolloff is definitely better with the GH5s.

Here's a quick highlight test in snow with the GH5S. No LUTS used. VLog color managed to Rec709 and a slight curve adjustment for contrast.

Settings:

VLog L
C4K 10 bit All-I

Speedbooster Ultra

Shutter 180
ISO 400
Leica R 60mm @ F4
Tiffen 0.9 ND

Been playing around with the GH5s and hope to have some samples up soon. I will say one thing about VLogL. The vast majority of people aren't properly converting V Log into a proper Rec709 color space. Using a LUT in Premiere just doesn't fully cut it. If you go to Resolve and set your input gamma to V Gamut, and output to Rec709 Gamma 2.4, luminance mapping to 500 nits, and saturation mapping ON (min 0.9, max 1.0) you get a full range of DR to manipulate contrast/saturation in Rec709.

They scrapped cinema release except in the 2 huge markets of USA and China. Looking fwd to this film. The score used in the trailer was a hook.

They are different for sure, but that is with no secondary adjustments. I naturally would bring down the sat of green and shift the hue. Skin tone could use a slight shift of green hue. This isn't a knock at all on your Alexa LUT b/c I love it. More of a compliment to the Varicam LUT which I threw in the trash last year after getting weird macroblocking with the GH4.

So I've been doing a ton of testing with VLog L and various conversions, techniques, profiles, etc. I ended up doing a head to head test with the Alexa Soft (Daylight) Rec 709 vs VLogL to V709_100 (Panasonic's default VLog conversion). Using ONLY curves and MAIN saturation slider they look extremely similar. I did no modifications to color channels.

Alexa Soft 709:

https://imgur.com/a/Uhf5Z

Varicam conversion LUT:

https://imgur.com/a/kqaDf

For everyone in the US. Beach Camera has 6 in stock: https://www.ebay.com/itm/Panasonic-LUMIX-GH5S-10-2MP-C4K-Mirrorless-ILC-Camera-128GB-SDXC-Card-Bundle/302620677439?hash=item467599153f:g:3voAAOSwfoNab3Vq

Realistic next steps would be 6K (maybe 8K) up to 30fps. Internal ND. 4K 120fps. They can't really cannibalize their cinema line (EVA1, VariCam) so I highly doubt they're going to add a sensor that is better than those 2. Unless by that time their cinema cameras have all new sensors.

Lack of OLED monitors as well. Dell was supposed to release a 31" OLED 5k and canned it.

I make commercial tracks from time to time. The music from this Comet Color video is one I made within a day.

Rolling shutter is a non issue when comparing the Ursa Mini Pro to the Alexa.

at 2K:

Ursa Mini 6.32ms

Alexa 6.00ms

If you guys are throwing away your Canon lenses please DM me and I'll send you the address to my garbage can. I'll pay shipping.

@jonpais Looking at his DR test, the GH5s shows an extra stop in the highlights, and one less in the shadows. I think I'd prefer that.

SLR Magic 50mm 2x prime

If I'm understanding correctly, DCI 4K with a Speedbooster Ultra will give a near full frame FOV, 1.2?

I'll make sure to do a side by side with the UM46K when I get the GH5s.

Matt Frazer is saying 14 stops. Interesting.

@jonpaisgood to see a proper lowlight example. Cranking the ISO outside at night to "light" a scene is so unnatural and ugly.

It would be great if Panasonic allowed the option of turning off internal sharpening.

24 minutes ago, RobertoSF said:

The GH5s can shoot multiple aspect ratios, namely the anamorphic friendly 4:3. And, apparently, the anamorphic video mode lets users record “squeezed” footage, then desqueezes it in the display, so the footage can be viewed in a more cinemascope-like aspect ratio.

This was a feature on the GH5 as well. What would be cool is if it could preview and desqueeze the actual file.

@Neumann Filmsare you allowed to release any of the raw clips from your short film?

I did it

As soon as I see that it's shipped I'll sell my GH5.