Sage

That was really cool. I have a couple ideas, if I may share? These were my favorite shots (a sodium vapor shot, no less):

Wow. In a sense, that's it; an 'external Olpf'. Now, to simply get it mounted on the sensor..

I want to do a universal extension of EC that will bring some key features to the fore: exposure conversions, possibly WB correctives, and something else that will be really neat. This will come after new cameras are supported, FCPX is documented, and Premiere ProRes/DNx supported, etc. I need clones Well, I did have a UC3 back in the day. I wouldn't recommend it though; UC doesn't do halation - rather it lifts the black level with light catching particles on the surface, if I recall correctly. For DD1, I'd only use it with the 5 *if there is enough light to stick an (at min) 2 stop ND between it and the lens. Its just what the 5 needs, in terms of texture (v the Alexa).

Not yet; I'm getting there

Looks fantastic! In the future with Cine-D, you should be able to keep those sunny highlights (and extreme gamut at -5). Great images throughout

That's the plan; with 10 bit its a great candidate as well. I've got a lot on the table atm (website, fcpx guide, video walkthroughs, several cameras (including S), prores pre, short film, secret project), but I will try to move as quickly as I can.

That was nice! I hope to get to it as soon as possible; it'll probably be for non-slog (due to 8 bit limitation)

I know the earlier versions of FCPX didn't have custom Lut utility, and required a plug in. It should be listed under effects in the bottom right under the latest version.

FCPX coverage coming up (I have it now). This is what I've learned thus far: In FCPX you will want to use the Custom Lut utility built in, rather than a plug-in to apply GHa (beware mLut). Also, for correcting WB, use the temp/tint controls in the Color Wheels in conjunction with the Vectorscope. Avoid the Basic WB eyedropper (more than just WB). The same basic principles and order of operation in Resolve and Premiere apply to FCPX.

The budget option would be to use the higher digital Olpf settings (6/20). The DD1 is solely a texture filter, sans halation. It optically makes detail 'thick' and 'smooth', whereas the normal digital aesthetic might best be described as 'anemic' and 'crisp'. For halation, I prefer Low Contrast over BPM, as it is optically true to the way that organic lenses diffuse light (BPM always looks like BPM). It will smooth falloff, at the cost of distinctly stronger diffusion than Alexa (often preferable on a film)

Its a combo of compressed contrast because of higher halation than the Alexa (distinctly higher with LC1/4), and a missing top three stops. DD1 with light Olpf settings (5.2/20) is quite a close match (optical Olpf side-by-side coming) I shoot to 1080p, as that's all I need (a match to the classic); if you don't mind the data rates, 4K is worthwhile (most are shooting to 3.2k with Alexa Minis today, and some high end productions to Alexa 65/LF)

Oh my. This is a problematic decision. Who made that call?

Also - 'Always Already'

Arri Alexa ? And that's Tiffen Digital Diffusion 1. The stack I was referring to in the previous comment is the Panasonic filter stack directly on top of the sensor, as opposed to my 'olpf stack' experiment in front of the lens. AA, I think, has a unified piece of material in front of the sensor, rather than a divided stack (olpf, IR/UV cut, dispersion etc. all in one)

That is, the Alexa shot has no filter - nothing can quite match the two in terms of falloff. The GH5 (and I assume most every other CMOS camera) has a reflective 'stack', with no reflection dispersion. The falloff can be smoothed, specifically with a Tiffen Low Contrast 1/8 or 1/4 (but the contrast will be lowered from reference, no LC is closest to AA falloff strength). DD1 is amazing for texture though; in that sense, they can be matched. *Oh - and the bokeh with this filter stack + light digital Olpf is amazing. It feels like I'm using incredible glass.

Yes, that's why I didn't even consider filters for so long. Its not specific to Firecrest, those are the reference Full Spectum NDs for EC though (how the Day conversion was made). It needs a minimum of a 2 stop ND to fully cancel out the reflection; the glass also needs to be parallel to the sensor plane, as one ND I have is slightly off axis, resulting in a diverging reflection. Interestingly, the Alexa doesn't even have this problem, despite having CMOS, as best I can tell. The falloff is silk and there are no ghost reflections, as I believe the filter is 'integrated', and not a stack (that causes 'stair-stepping' falloff): GH5 GH5 (1/4 LC, DD1, Contrast matched) Alexa

Will do! These are LogC + R709, converted LogC + R709, and Panasonic V35 R709 thrown in for reference: https://flic.kr/s/aHsmzCgFFP And these are all the raw files, LogC and VLog L: http://www.mediafire.com/folder/x3ub82eh21u63/ALEXA vs GH5 (Side-by-Side)

The walkthrough is detailed in the last step for the NLEs in the Pdf. It essentially spreads every point of light out, lowering micro-contrast, like an 'inverse-sharpening', by using a blur layer paired with opacity GHa Documentation V3.pdf

In my case, I shoot to 2K All-I, and use the digital Olpf settings, to make the resolution organic (and upscale as needed). Paired with the DD1, I find I only need the lighter olpf settings (5.2/20) to counter sharpening, and the DD1 takes over texture from there for a solid match. The full 6/20 is too much with the DD1 (beyond a match)

I've been using it for the first time on a shoot recently (first time filming anything since my research splurge in Nov). I definitely always want to use DD1, no matter what. I may experiment with other diffusion in combination, for artistic falloff (though the GH5 will never be an exact match for AA halation). Jan Sandvik, a GHa fan, posted an interesting diffusion example using black tulle in front of the lens, which I thought was quite filmy:

About two months ago, I bought a bunch of filters to see if I could match the Olpf optically. I haven't had a chance to do a proper write up, but updated the Pdf - the closest one was Tiffen's Digital Diffusion 1. I had always thought Low Contrast 1/2 would be the match because of Jim Jannard's note about matching the Red to Alexa many years ago, but it wasn't even close (too strong). That said, LC did improve the falloff, to smooth out the stair stepped nature of the GH5's falloff, which was Alexa-like. The optimal stack I settled on was: Lens > Firecrest ND (Cancels out inverse sensor reflections) > Tiffen Low Contrast 1/8 > Tiffen Digital Diffusion 1 That said, I use 1/4, which gives a nice distinct diffusion and smooth falloff, but is decidedly stronger than the Alexa (lowering the contrast as well). LC 1/4 + DD1: This original Gunleik Groven test had also convinced me that Low Con 1/2 would be the ticket: Red 1MX Alexa And DD1 examples, from Tiffen:

Love those stills man, especially the middle one Do you use the digital olpf settings? They really improve texture

I'd certainly like to do that. Last weekend I figured out the last of the technical framework for the website that I'd been trying to hammer out for two months, so now it is simply a matter of finishing the website to move on to new cameras. The problem @deezid is referring to here is the infamous red clipping situation; BMD appears to have unwittingly allowed their redefined gamut for CS4 to clip in the far red region (something that I hope will be fixed before I support it, as any redefinition will invalidate the work) Working toward it! Its a top priority as soon as I get past the website for it, and I've figured out the most difficult server stuff now. I've been simultaneously shooting a film and battling what is perhaps the worst cold virus I've ever had hehe. I would be displeased with myself if there wasn't something by the sunny season.

Methinks they must have concluded that most people would first experience V4 with the P4K, while the previous cameras could remain at V3. Did they announce that they would fix it officially yet? Ironically, I had a very similar problem with early EC V2 that has since been fixed.

This may be the reason for the slow down in shipping - they want to fix the problem before shipping out any more? Do you have raw (prores) red clipping footage? If so, can you send it my way? I'd like to take a look at it.