Sage

36 minutes ago, Wild Ranger said:

I mentioned it but the director really wanted the full frame look, also there are some situations of low key lighting and despite i always light my scenes, the sony do respond really well in low key.

On one hand i did some test shots and was able to get some nice color from the Sony. But honestly i prefer the GH5 for IQ and if i can I'm gonna steal some shots with mine for the film.

Better than the S? This is one area I expected the P4K to excel at, with that new sensor.

On 1/28/2019 at 3:47 PM, redepicguy said:

Used the standard Panasonic version for monitoring, since yours had way too much banding for monitoring, and wasn't accurate at all in terms of colors/highlights, etc. In post, it's a different story for sure! 

Yea its a tough call. I still prefer the GHa vlt colors, as long as its the midtones. Highlight gradients can't keep up at 17x with GH5 interpolation

33 minutes ago, Wild Ranger said:

Hi @Sage is there a Sony a7 version coming some day? I'm currently DPing a Feature and we are using the Sony a7sII. 

That's the plan; I'm wading through some complex code at the moment, but I can see the light at the end of the tunnel lately.

Why didn't they opt for GH5?

44 minutes ago, thebrothersthre3 said:

Nice looking shots! Makes me reconsider my GH5.

Thanks man, its hard to beat. I used an Alexa for a bit, and then switched to the 5, because it was easier on my back ?

2 hours ago, redepicguy said:

Just got a GH5 to go with my Alexa and purchased the LUTS. Pretty impressed so far. With some tweaks, they work very well.

Looks good Chris; Did you end up monitoring with the .vlt, or 709?

Here are some stills from the weekend:

Just now, deezid said:

Probably should rest until BMD fixes their color science 4 lol

The red clipping is dreadful and appears on every camera using color science 4 - even on Blackmagic's own BRAW samples.

Oh my; I heard something about it. If they are fixing that, then its probably ideal that I wait (they are still not in stock though)

11 hours ago, RCV said:

hi Sage, not sure if you answered this but are you planning to release the LUTs tailored to the GH5s and the Pocket 4k? If so, are you close? I understand you are working on a ton of other stuff

That's definitely the plan; at present, I've had some breakthroughs in figuring out the server code that I needed to tackle, so I'm getting close there. Then I can return to developing the site, and subsequently the cameras. I'm also simultaneously shooting a film, which is consuming all of my free time (for the next month). I used the actual Alexa on some shots, GH5 on the rest. I want to have everything ready by May. That's the goal.

3 hours ago, jase said:

@Sage since the G9 shares the same sensor as the GH5 is it safe to assume that your LUT should work on it fine as well (especially when it also seems to work on the G85)? Of course for the G9, CineD has to be used due to the lack of HLG.

I think it will probably work. Granted, when it comes to color, its hard to assume (measurement is often a surprise)

Here is a Cine-D to VLog conversion to test it out with: http://emotivecolor.com/hlgtovlog.html?v=1.2

- and Alex Delfont's incredibly good Siam Rehab (HLG and Cine-D with Linear 33x):

(be sure to watch in anything but Firefox, ideally Chrome with the dev fix)

On 1/7/2019 at 2:55 PM, Alex Laskka said:

Hi everyone,

I just discovered this amazing Alexa conversion. I was redirected to this forum by the sage.
Just wanted to share my first 8bit CineD results and get your tips on exposing skin with zebra in camera.

Thanks!

I've shown those stills to a lot of people! Looks like you are doing quite well with exposure

Also all the work from these two is great (EC since Nov):

And this one is quite good too:

https://www.webstagram.one/media/BsOfDXlj5nF

@matthere That's the plan, I prefer video tutorials myself. As soon as I can, I will do that. I will be working over the holidays; currently enmeshed in site coding at the moment (server side back end that is a first for me). At its most simple, GHa is summarized as:

1) Applying Main, Soft or Linear

2) Setting Luminance (to conform to cinema luminance, outlined on the waveform guide)

Send me an email with a few tiff/dpx stills; I can do example grades with them and walk you through them

On 12/21/2018 at 2:46 AM, Adam Kuźniar said:

You're correct - cheap Yongnuo LEDs. Also you're right about the CineD Sat - it was at 0. Thanks for the feedback, I'm planning to shoot some stuff around christmas so we'll see if I can do better!

Sure thing; led quality is indeed vital (on the Alexa or any camera). Check this out (the color spectrum graphs give a sense of it):

https://www.oscars.org/science-technology/sci-tech-projects/solid-state-lighting

@Adam Kuźniar They look good! In the last, it appears to be lit by led? Skintone is too green there; this is an issue with cheaper yellow leds. Halogen will render more magenta*

Cine-D was also at 0 sat (thereabouts). To simulate ideal Cine-D, lower the saturation in advance of the conversion (in addition to WB adjustment):

5 minutes ago, mercer said:

Unfortunately my G85 was kind of a dud. Well not quite as listed. I used it once in my backyard and although it’s a definite step up from the G7, every time I went to do some shots, I immediately grabbed my 5D3. I’ll just have to admire what you guys are doing with the GHa. 

If I get a few minutes before I return it, I’ll do a little test with it if it can help others who may be interested going that route. 

Cine-D, -5 sat (16-235 lum) is the ticket; I can apply the conversion to it. If I can, I'll try to get around to the 5D3. One day, the GH5 will have more companions.

@.mateusz I hope to; it has 10 bit, which decidedly makes it a contender. From what I've seen with other Panasonic cameras, it seems to work decently. @katlis posted a few examples earlier, and I believe @mercer has a G85 now

2 minutes ago, mercer said:

The GH2 version sounds excellent! I REALLY look forward to that. Hell, I may buy a few used ones now because I’ll bet their value goes up when you start supporting them.

Thanks for the workflow tips with CineLikeD. As I said, I’ll just use the freebie route once to test it with the G85. It would be great if you support it, I’d imagine the G85 would be a great B-Cam for the GH5... let me know if there’s anything I can do to help.

As I’ve said before, I love my 5D3... somebody will have to rip it from my cold, dead hands before I switch to another camera for my “serious” projects. But I also have a bunch of ideas for small, short films that I would probably never get to with the 5D3 but with a G85, I can throw a c-mount on it, toss it in the backseat, hop on a train and create some content... it will be my glovebox hybrid cam for photos and short films. And if I can get half of Wild Ranger is getting out of his GH5, it will work perfectly for my needs.

Indeed there is - when I've got some free time (after P4K/S), if you sent it to me for a week (when there is clear weather), I'd be able to support it directly thereafter

14 minutes ago, mirekti said:

@Sage Any chance of GH5S profile or still the same status quo? BTW Do you need a clear summer day when you work on the profile or you do it in a studio?

Working on the website as fast as I can (the primary reason is to support the S and P4K). This is the best possible news for S owners ;) Not working on the GH5 at the moment, but there will be more news there once the S is addressed.

I need a spotlessly clear, *sunny day. Many layers will be worn

@mercer Yes, the GH2 patched is a must, as a throwback (kept mine). I will support Smooth, all -2, with Flowmotion 2.2 as the recommended patch

With the freebie route, it would be three conversions in sequence, with the grade following: EC Cine-D to VLog -> CST VLog to LogC -> Arri R709 (from the Arri generator). And the same exposure and set up as V3

That'll put things in the neighborhood - the revelation with the freebie route is that the VLog conversion precisely reproduces Panasonic's VLog add-on (with the pdf settings for Cine-D on GH5). Granted that you picked up a G85 for it, I'd recommend getting GHa Daylight as an all-rounder. The G85 is a black box to me, but now that I know you have it, perhaps I can support it directly

10 hours ago, mercer said:

Honestly Sage, with what you’ve done with GHa, I really see no reason to even get the P4K. What you guys are getting out of the GHa is simply astonishing. IMO, why trade the production friendly elements of the GH5 for a minimal bump in IQ? But I guess from a business standpoint, it definitely makes sense for you to provide the Alexa look to the multitude of P4K owners... I’m sure they’ll go gaga over it.

One request... since you were forced to purchase a second Classic, please make and post an Alexa video... preferably a short narrative.

The P4K will really give a purist image; it has the benefit of extra highlight DR, lower noise, and clean codecs (the GH5 has slight banding in moving gradients with its best internal codec). When I don't need IBIS (float/shoulder/dolly), I'll opt for that one methinks

I always liked the ethos of BMD, to the point that I sent them requests to make the equivalent of the P4K for years (it is exactly the camera I had been describing, plus 120 which I never imagined they would get to) The GH5 came first, and with my GH2 it seemed like the m4/3 camera I had always requested from BMD, plus IBIS (which I didn't know I wanted)

Will do; incidentally I am shooting an Indian language film this weekend, my first production since Emotion II. I think I will bring the Alexa (at least to the first shoot) because the producer wants to use it (understandably). Also, I will be able to shoot a series of side-by-sides going forward, something with a bit more cinematic flair than the current GH5 SBSs

The BMD Micro was almost an interim camera for me, but I resisted. That is a very good idea, I want to support a micro budget cam, and that might be the one, with its 10 bit. I know I will get to the patched GH2.

There is a Cine-D freebie route to LogC of sorts. You can get the Cine-D to VLog Pre here, and then follow it with a VLog to LogC transform from Resolve CST (or equivalent)

11 hours ago, Wild Ranger said:

Hello everyone!

I'm been working in several projects lately, here i wanted to to show some still of a new short film i shot last week. The final look will be in black & white, but here i will put some stills in color with V3 and my grade. Also some Vlog stills.

That looks incredible! I love it.

@mirekti My bad, 176 is the one; 200 is GH5 All-I, and 220 is for 30

1 minute ago, dia3olik said:

do you mean soft VS uncompressed vid coming off the hdmi or VS the best quality option of DNX inside the Atomos?

Back a few years, there was a comparison of the various flavors of mezzanine codecs against raw, and they all softened the image. They had a filmic quality (inherently soft), and I quite liked it, though that's why I opt for at least 200mbps with a 2K intraframe codec

30 minutes ago, mirekti said:

@Sage What codecs are you using? At the moment I am using Atomos with DNxHD, and might switch to ProRes as it offers 10 bit recording for all of their offered codecs in Atomos. I was thinking of using ProRes LT, but not sure how aggressive you LUT actually is. Should I rather go with 422? Atoms has these options (HQ, 422, LT).

I would use HQ myself (which is still a touch soft). GHa v3 will be transparent to the material (no need to worry about teasing apart macroblocks etc)

1 hour ago, kye said:

 

skin tones actually vary wildly in hue depending on lighting conditions

That's right - it depends on the light. Imagine a magenta neon light - its got a limited spectrum. That the LF promo video is on the line is a sign that they are using a rich, full spectrum light in the studio - no doubt the Arri Skypanel. Sunlight and Halogen are relatively smooth spectrum, and an accurately balanced Alexa will place on the line; off-the-self leds and flourescents are a different story.

@katlis Perhaps one day I'll support the GX85 directly; that will tighten things up considerably! Looks good

I'm doing a deep dive into html/css at the moment, and filming this weekend

@RCV It does need to be a neutral WB for the key light. You can get the same monochromatic reduction following the conversion in post by desaturating and then doing a WB shift, or midtone wheel shift. The color conversion underneath will be true to form.

The P4K is still in the distance; if Black Magic would sell one to me, I could get started ? Alas, one day

1 hour ago, Jonesy Jones said:

@Sage, I have very little free time of lately and therefore little time to post, but your V3 is so nice I am astonished. In fact, I am so impressed that I was, for a short time, considering not trading the GH5 for P4K since the look you created there is amazing. But...

...this means you will be creating your conversion for the P4K? Because, YES!!! If so, your conversion plus .braw will be so potent that I can't see needing much in an upgraded camera for some time. I am still so busy that I can wait for both .braw and your conversion. 

Please please please keep us posted on the P4K progress. 

Btw, I think this is a brilliant decision for you. Both the Gh5 and especially the P4k will be purchased by scores and scores of filmmakers. Your consumer base will be yuge. 

Thanks again man. Great work.

Thanks Jonesy, that's the plan. There is a lot of ground to cover; I am laying the foundation for it now. Just got a new Alexa Classic last week, due to the early demise of the former

Before moving forward, I wanted to make sure the original work was fully defined, and V3 is really there