Sage

Have you tried filmconvert nitrate? The cineon log conversion has spot on colors and contrast, it's their normal emulation laced with their heavy print film colors that looks crap. 

There will be PREs if the codec is lacking for the main log format; only the Cine-D Pre would be needed, but I like that HLG on the GH5 could use the default saturation setting.
The standard bar is absolute for each new camera; I'd like to do a comparison in the future, wherein the same subject is filmed with every camera. Here are the Alexa, P4K, and GH5, with the most recent conversions/EC709:


It will interesting to see; I hope to explore it soon!
All-I will give you a codec advantage over 8-bit 60 (and 10-bit 150mbps 24). There is less macroblocking and denser color gradients. The exception is 1080p 100 Long, which was similar to All-I in my gradient motion test. 1080p on the GH5 is very detailed (at the limit of 1080). Cine-D is better than VLog for 4K 8-bit

@jack jin That's the ticket; one might also opt to use day balanced bulbs or CTB gels indoors

@jack jin Is it the Daylight conversion? This is common when Daylight is applied to tungsten lighting
@TomTheDP Sure, that's possible; I am at a crossroads, wherein there are some experimental ideas I've wanted to mess around with for years. Now with the engine complete, I feel more free to explore them

Apologies, I was away for a bit. An update - first, my dad is out of the hospital and recovering from surgery.  We are ostensibly through the worst of it.
Second, I ended up rewriting the complete engine. All legacy code has been replaced, in order to make extreme saturation projection more accurate, as well as make some improvements along the way (for example, the engine now features a 1D function at core)
Third, I've completed the S1/S1H/S5 conversion, as of yesterday.
It is the most recent LogC (SUP 11.1.1)
Fortunately the S series seems to have a better internal codec. The GH5 was uniquely problematic with its red/green macroblock splitting. To test gradient motion, film a white wall in darkness. Then, move a spotlight back and forth to see If there is banding revealed as the spotlight falls into darkness. Better codecs will handle this smoothly, while more compressed codecs may have some visible bands moving in the gradient. This is the kind of thing that can crop up in lens flares, or panning across gradients.

Apologies, I was away for a bit. An update - first, my dad is out of the hospital and recovering from surgery.  We are ostensibly through the worst of it.
Second, I ended up rewriting the complete engine. All legacy code has been replaced, in order to make extreme saturation projection more accurate, as well as make some improvements along the way (for example, the engine now features a 1D function at core)
Third, I've completed the S1/S1H/S5 conversion, as of yesterday.
It is the most recent LogC (SUP 11.1.1)
Fortunately the S series seems to have a better internal codec. The GH5 was uniquely problematic with its red/green macroblock splitting. To test gradient motion, film a white wall in darkness. Then, move a spotlight back and forth to see If there is banding revealed as the spotlight falls into darkness. Better codecs will handle this smoothly, while more compressed codecs may have some visible bands moving in the gradient. This is the kind of thing that can crop up in lens flares, or panning across gradients.

Apologies, I was away for a bit. An update - first, my dad is out of the hospital and recovering from surgery.  We are ostensibly through the worst of it.
Second, I ended up rewriting the complete engine. All legacy code has been replaced, in order to make extreme saturation projection more accurate, as well as make some improvements along the way (for example, the engine now features a 1D function at core)
Third, I've completed the S1/S1H/S5 conversion, as of yesterday.
It is the most recent LogC (SUP 11.1.1)
Fortunately the S series seems to have a better internal codec. The GH5 was uniquely problematic with its red/green macroblock splitting. To test gradient motion, film a white wall in darkness. Then, move a spotlight back and forth to see If there is banding revealed as the spotlight falls into darkness. Better codecs will handle this smoothly, while more compressed codecs may have some visible bands moving in the gradient. This is the kind of thing that can crop up in lens flares, or panning across gradients.

Hey @Hicham , I'm working on that next. Upon finishing the 4.2 update recently, I just kept working on the engine, and made some major revisions last week. Now, the S1/H

Hey Sage, are you planning to support new eos R5-R6?

Sony A6000 + GHAlex
Hello everyone, Been playing around with GHALex v3 on my Sony A6000 footage since a while. Loving it. Eagerly awaiting native support to Sony camera.
https://www.imgur.com/a/2Igb9YI

Hey @Hicham , I'm working on that next. Upon finishing the 4.2 update recently, I just kept working on the engine, and made some major revisions last week. Now, the S1/H

Hey @Hicham , I'm working on that next. Upon finishing the 4.2 update recently, I just kept working on the engine, and made some major revisions last week. Now, the S1/H

Hey @Hicham , I'm working on that next. Upon finishing the 4.2 update recently, I just kept working on the engine, and made some major revisions last week. Now, the S1/H

There will be PREs if the codec is lacking for the main log format; only the Cine-D Pre would be needed, but I like that HLG on the GH5 could use the default saturation setting.
The standard bar is absolute for each new camera; I'd like to do a comparison in the future, wherein the same subject is filmed with every camera. Here are the Alexa, P4K, and GH5, with the most recent conversions/EC709:


It will interesting to see; I hope to explore it soon!
All-I will give you a codec advantage over 8-bit 60 (and 10-bit 150mbps 24). There is less macroblocking and denser color gradients. The exception is 1080p 100 Long, which was similar to All-I in my gradient motion test. 1080p on the GH5 is very detailed (at the limit of 1080). Cine-D is better than VLog for 4K 8-bit

It should be excellent. The mode that I found problematic was actually the 4K 150mbps, specifically on a gradient motion test. 4K 400 and 1080p All-I were both very good here (as well as 1080p 100 long). I'm a 2K fan generally (typical minimalism), hence the preference for 1080p All-I (the GH5 has excellent down-sampling)

It should be excellent. The mode that I found problematic was actually the 4K 150mbps, specifically on a gradient motion test. 4K 400 and 1080p All-I were both very good here (as well as 1080p 100 long). I'm a 2K fan generally (typical minimalism), hence the preference for 1080p All-I (the GH5 has excellent down-sampling)

There will be PREs if the codec is lacking for the main log format; only the Cine-D Pre would be needed, but I like that HLG on the GH5 could use the default saturation setting.
The standard bar is absolute for each new camera; I'd like to do a comparison in the future, wherein the same subject is filmed with every camera. Here are the Alexa, P4K, and GH5, with the most recent conversions/EC709:


It will interesting to see; I hope to explore it soon!
All-I will give you a codec advantage over 8-bit 60 (and 10-bit 150mbps 24). There is less macroblocking and denser color gradients. The exception is 1080p 100 Long, which was similar to All-I in my gradient motion test. 1080p on the GH5 is very detailed (at the limit of 1080). Cine-D is better than VLog for 4K 8-bit

Will do; that's a relief!
The challenge with in-cam monitoring (at least on the GH5) is that the interpolation with 17x is the worst I've seen. I remember hearing the S1/H could accept 33x, is that so?
This is an area that I want to spend some time studying once a few things are finished. There is variance; the Alev sensor has been said to be tuned between the photosite dyes, UV/IR filter and color sci to have more consistent results across different light sources (there used to be a blurb on their site about this, the old Classic page). The conversions are inherently light source specific (i.e. sunlight or halogen)
Count me in!

Mr Speakers (Now called Dan Clark Audio) Ether C. Never had such a good reference pair. Really transparent on the source. Feed it a good source and amp it well, and it shines. Does not flatter unless you find a good matching amp (can sound flat or boring on some DACs). Amazing expansive sound stage. Pairs well with a good tube amp or the new super small Radsone HUD100 DAC on "Dynamic" mode.
Beyerdynamic T5p. Superb exciting travel and studio cans, really durable and rapid, controlled bass like a planar. Some of the best closed dynamic headphones for the price. Can comfortably wear them on street. Very good isolation. Change the pads though to velor.
Hifiman Sundara. Total bargain for the price. No isolation with it being open though, so not as flexible as the Beyer and Ether. Very detailed bass.
Denon / Fostex varieties / all great (Massdrop THX00, E-Mu Teak and older AH-D5000 my favourite ones) https://www.innerfidelity.com/content/survey-foster-443742-variants-subjective-listening-tests-denon-ah-d5000-massdrop-fostex-th - However not 'really' closed cans - more like open. Don't isolate well for studio or street usage.
Hifiman Ayra - very detailed planar with amazing control. Easy to drive. I rate them above LCD-X but they are less dark, less weight in the low end.
There are also some amazing Chinese IEMs around the $100-150 mark. Z Reviews has covered a lot of the good stuff. Beware the hype though. It gets expensive.

Thanks guys, it was the hardest news of my life. Fortunately, he's doing well, with almost no side effects despite two cycles of Folfirinox. Its a marathon, but an encouraging start

Will do; that's a relief!
The challenge with in-cam monitoring (at least on the GH5) is that the interpolation with 17x is the worst I've seen. I remember hearing the S1/H could accept 33x, is that so?
This is an area that I want to spend some time studying once a few things are finished. There is variance; the Alev sensor has been said to be tuned between the photosite dyes, UV/IR filter and color sci to have more consistent results across different light sources (there used to be a blurb on their site about this, the old Classic page). The conversions are inherently light source specific (i.e. sunlight or halogen)
Count me in!

Will do; that's a relief!
The challenge with in-cam monitoring (at least on the GH5) is that the interpolation with 17x is the worst I've seen. I remember hearing the S1/H could accept 33x, is that so?
This is an area that I want to spend some time studying once a few things are finished. There is variance; the Alev sensor has been said to be tuned between the photosite dyes, UV/IR filter and color sci to have more consistent results across different light sources (there used to be a blurb on their site about this, the old Classic page). The conversions are inherently light source specific (i.e. sunlight or halogen)
Count me in!

Will do; that's a relief!
The challenge with in-cam monitoring (at least on the GH5) is that the interpolation with 17x is the worst I've seen. I remember hearing the S1/H could accept 33x, is that so?
This is an area that I want to spend some time studying once a few things are finished. There is variance; the Alev sensor has been said to be tuned between the photosite dyes, UV/IR filter and color sci to have more consistent results across different light sources (there used to be a blurb on their site about this, the old Classic page). The conversions are inherently light source specific (i.e. sunlight or halogen)
Count me in!

Will do; that's a relief!
The challenge with in-cam monitoring (at least on the GH5) is that the interpolation with 17x is the worst I've seen. I remember hearing the S1/H could accept 33x, is that so?
This is an area that I want to spend some time studying once a few things are finished. There is variance; the Alev sensor has been said to be tuned between the photosite dyes, UV/IR filter and color sci to have more consistent results across different light sources (there used to be a blurb on their site about this, the old Classic page). The conversions are inherently light source specific (i.e. sunlight or halogen)
Count me in!

I haven't used the S1 myself; I believe that @austinchimp and @Parker use it with the S1 specifically. I 'd like to support the S1 directly eventually, though there are some hefty items I'm working on at the present moment. With V4 specifically, the standard is now to project 'edge' behavior of a color space infinitely into theoretical values beyond 0-1 (resulting in clean theoretical values beyond the target color space). This means that if a V4 conversion is used on unintended display formats, they will be handled as if they were an extension of that core transform at center, free of artifacts (unlike V3). The entirety of S1 gamut and DR are addressed by the conversion, albeit not directly measured.