AaronChicago

I rent out my aputure kit and quasar science kit often. It's all about knowing what's popular. Leave the cameras to rental houses as people want Arris and Reds to rent. Glass too. Who the **** can justify spending 40k on a lens or body?

Nominated 14 times - finally got one in the bag!
 
Congrats Rog! (not that you needed this kind of validation - your  and your crews work speaks for itself)

I use ShareGrid. Very reliable. They verify your ID, and insurance. I've considering offering my SLR 2x Anamorphic Prime to rent. Also, an Aputure 300D kit.

First, you have to ask yourself: is the mojo present in a single frame? Could you compare still images to find mojo? Or does the mojo kick in when it played as a video.

First, you have to ask yourself: is the mojo present in a single frame? Could you compare still images to find mojo? Or does the mojo kick in when it played as a video.

I have an iPhone X... and a Note8... and a GH5, and the GH5S and the 1DXMK2. And I can tell you first hand... No smartphone comes close to those cameras. Yes they can all take video. And yes they can all take stills. But comparing a modern smartphone to a modern high end camera is a fools errand. You might as well go snipe hunting 
Do it indoors with ambieant light and it will be a really short test. Don’t get me wrong, I’m certain the breakthroughs will come in Mobile first. But a smartphone will never be equal to a dedicated camera of the same era. 

You may be right about HLG, but I wanted to give it a play to learn what it was like. Granted working with it presents challenges. 

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

I'm not sure where to post it, so here also... It seems to me the best so far done/looks (at least what and how I've seen) achievement of GH5s...
 

But if the picture is just too small for the frame how does simple cropping help? I don't get it, because i theory i need to scale up, right? If you could do a quick handy video on how you do it, that would be awesome.
@AaronChicago did you make it work on your 502?

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.

I got the Decklink and hooked up the Inferno. Holy shit there's a night and day difference in NITs and shadow/highlight detail. I'm a little bit worried about using the HDR monitor as a reference until I start delivering in HDR.
 

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.

This is actually really impressive. Top work!
How does the GH5 footage feel to grade once converted? I presume it wouldn't handle quite as nice as actual Alexa footage?

THE Juan Melara? Awesome!

@jonpais I'm using the Shogun Inferno. Decklink Mini 4k. Right now I have HDMI running from the Decklink to the monitor.

I got the Decklink and hooked up the Inferno. Holy shit there's a night and day difference in NITs and shadow/highlight detail. I'm a little bit worried about using the HDR monitor as a reference until I start delivering in HDR.
 

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.

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.

Congrats on the new camera.

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.

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

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

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.