Sage

Thank you! Can´t wait to see what @deezid and @jonpais gonna do with it.

*Starting today, I am offering the HLG/V-Log conversions for free. You can enter a donation if you'd like
Enjoy!
"Precision conversions to allow the interchangeability of Hybrid Log-Gamma and V-Log L, for the Panasonic GH5. There are 3 variations of each conversion to accommodate the interaction of white balance with color space: Daylight, Tungsten, and an averaged conversion (4300k)."
EmotiveColor.com
PDF Download
HLG Converted To V-Log L (Tungsten)

*Starting today, I am offering the HLG/V-Log conversions for free. You can enter a donation if you'd like
Enjoy!
"Precision conversions to allow the interchangeability of Hybrid Log-Gamma and V-Log L, for the Panasonic GH5. There are 3 variations of each conversion to accommodate the interaction of white balance with color space: Daylight, Tungsten, and an averaged conversion (4300k)."
EmotiveColor.com
PDF Download
HLG Converted To V-Log L (Tungsten)

*Starting today, I am offering the HLG/V-Log conversions for free. You can enter a donation if you'd like
Enjoy!
"Precision conversions to allow the interchangeability of Hybrid Log-Gamma and V-Log L, for the Panasonic GH5. There are 3 variations of each conversion to accommodate the interaction of white balance with color space: Daylight, Tungsten, and an averaged conversion (4300k)."
EmotiveColor.com
PDF Download
HLG Converted To V-Log L (Tungsten)

Yes, the native GH2 color (with Smooth -2 and Flomo 2) is better than the GH5s native color. I will never sell my GH2, just because of its significance to me. Maybe I will do a GH5 > GH2 conversion for a bit of fun & nostalgia haha
 

Yea, the Gh2 native color is definitely better, *especially under tungsten. With the dynamic range, bit-depth, and resolving power of the GH5, the potential is akin to a cinema cam. The color is a malleable 'chameleon'
Thanks Mercer, they are both hacked Gh2, though Dani was only with my own slow motion patch, otherwise unhacked.
Indeed, Victim is a more carefully done muted cinema approach to color and light, while E2 has the rougher pop-inspired, unlit approach of its predecessor. With GHa (and what's next), I'm going to do a narrative in the muted cinema style. It will be something to see ; )

Indeed, the image quality of the GH5 is much better than the GH2

Yes, the native GH2 color (with Smooth -2 and Flomo 2) is better than the GH5s native color. I will never sell my GH2, just because of its significance to me. Maybe I will do a GH5 > GH2 conversion for a bit of fun & nostalgia haha
 

Some quick test frames from home movie footage I got this week using V-Log. First impressions are that it's having a very nice effect. Very natural and the management of the light is very cinematic. I haven't used an Alexa much but have used an Ursa mini 4.6k and Canon C200 a lot, and this kind of reminds me of the Canon Wide DR profile. I just threw a few clips on a timeline and spent a minute or so adjusting each frame so this is pretty much ungraded, just with the daylight LUT.
I'm looking forward to editing something together. I recently got hold of a Digital Bolex so I'm into colour and skin tones, and this looks very promising.
Lens was a EF Tamron 24-70 f2.8 with Metabones speedbooster. I also used a Tiffen Vari ND.
 

GH5 at a friend's wedding. A little bit of grain, vignetting, lens blur and digital diffusion... plus a colour treatment based on my experiments with matching colour and contrast with Ektar 100 film.

Pere Puigbert just shared these stunners with me -
Daylight (Soft)

Pere Puigbert just shared these stunners with me -
Daylight (Soft)

@hyalinejim Thank you Mike; I appreciate that. The shots look great.
@Jonesy Jones From James W:



 

"GH5 V-Log and Hybid Log-Gamma are transformed to precisely match the color science of the Alexa, without compromise."
"The GH Alex conversion completely transforms the GH5 image, addressing every nuance of color reproduction (from shadows to highlights, low saturation to high saturation, for every possible hue). This includes an organic rolloff which fully eliminates channel clipping."
EmotiveColor.com
PDF

YouTube

A year ago, I was contemplating picking one up when it hit the 12.5k mark. I priced it out at time, and looked at what I would need to get it in motion (all that I shoot), and decided to hold off. That decision ended up setting in motion the conversion idea for a somewhat smaller camera ;). I will still likely get one eventually, as I am a nutty fan, but it won't really be practical for personal shooting for me, because of the weight (the motion tools and crew needed for them etc.). It would still be nice to have one however, and I spoke to Roman Alaivi a while back about it (someone who ended up getting one when it hit 12k). Here are his thoughts:
Hey man, yeah I did get a classic Alexa last December. I've loved it so far. Basically, in terms of functionality it is a beast and not quite as simple as the URSA logistically. It's big, uses lots of power and can be a bit of a pain in terms of getting up and running smoothly once you buy the camera.
Here's what I had to get off the bat to make it just as useful / practical as the URSA. 
- 6 * 155WH Anton Bauer batteries. Each battery giving me approximately 1hr 15m. 6 batteries was the minimum to run a normal shoot for me. $1600
-O'Connor 2060HD head used $6k. O'Connor sticks, $1500. I suppose you could skimp out here and get another head... but man... this thing is no joke lol. You need a serious head. There's older versions of the O'Connor you could probably use though
-4 * 64GB SxS media: $1k. This was the dumbest purchase, because I could have literally gotten a Gemini with an ARRI Raw licence for about that much, and multiple 512GB cards... so silly. Either way, look to spend about that much to make it useful media-wise
-Hot swap battery plate, to run 2 batteries $300
-Good telescoping rosette arms. With other cameras, I could care less, but with how big the Alexa is, I pretty much needed exactly the right length of arm to make handheld feel as natural as URSA or other cameras. I got the shape handles for $1k. Might sound like overkill, but other rosette handles just don't hold up with how much weight you're bouncing around. The solid Tilta handles I had eventually wore-down and the rosettes didn't even lock into place properly because of the bumps and jolts they'd get tossing the camera around sometimes.
There's a few more things for sure, but those were the main purchases.
In the end, once I had everything I needed, it wasn't bad at all. Takes more time to setup for shoots, but less time in post. Footage looks so good, and just the ARRI REC709 LUT looks like a movie every time lol. I'd be lying if I said it wasn't worth it just for the look and how consistent it is no matter what I shoot. I've been loving it so far.

A year ago, I was contemplating picking one up when it hit the 12.5k mark. I priced it out at time, and looked at what I would need to get it in motion (all that I shoot), and decided to hold off. That decision ended up setting in motion the conversion idea for a somewhat smaller camera ;). I will still likely get one eventually, as I am a nutty fan, but it won't really be practical for personal shooting for me, because of the weight (the motion tools and crew needed for them etc.). It would still be nice to have one however, and I spoke to Roman Alaivi a while back about it (someone who ended up getting one when it hit 12k). Here are his thoughts:
Hey man, yeah I did get a classic Alexa last December. I've loved it so far. Basically, in terms of functionality it is a beast and not quite as simple as the URSA logistically. It's big, uses lots of power and can be a bit of a pain in terms of getting up and running smoothly once you buy the camera.
Here's what I had to get off the bat to make it just as useful / practical as the URSA. 
- 6 * 155WH Anton Bauer batteries. Each battery giving me approximately 1hr 15m. 6 batteries was the minimum to run a normal shoot for me. $1600
-O'Connor 2060HD head used $6k. O'Connor sticks, $1500. I suppose you could skimp out here and get another head... but man... this thing is no joke lol. You need a serious head. There's older versions of the O'Connor you could probably use though
-4 * 64GB SxS media: $1k. This was the dumbest purchase, because I could have literally gotten a Gemini with an ARRI Raw licence for about that much, and multiple 512GB cards... so silly. Either way, look to spend about that much to make it useful media-wise
-Hot swap battery plate, to run 2 batteries $300
-Good telescoping rosette arms. With other cameras, I could care less, but with how big the Alexa is, I pretty much needed exactly the right length of arm to make handheld feel as natural as URSA or other cameras. I got the shape handles for $1k. Might sound like overkill, but other rosette handles just don't hold up with how much weight you're bouncing around. The solid Tilta handles I had eventually wore-down and the rosettes didn't even lock into place properly because of the bumps and jolts they'd get tossing the camera around sometimes.
There's a few more things for sure, but those were the main purchases.
In the end, once I had everything I needed, it wasn't bad at all. Takes more time to setup for shoots, but less time in post. Footage looks so good, and just the ARRI REC709 LUT looks like a movie every time lol. I'd be lying if I said it wasn't worth it just for the look and how consistent it is no matter what I shoot. I've been loving it so far.

A year ago, I was contemplating picking one up when it hit the 12.5k mark. I priced it out at time, and looked at what I would need to get it in motion (all that I shoot), and decided to hold off. That decision ended up setting in motion the conversion idea for a somewhat smaller camera ;). I will still likely get one eventually, as I am a nutty fan, but it won't really be practical for personal shooting for me, because of the weight (the motion tools and crew needed for them etc.). It would still be nice to have one however, and I spoke to Roman Alaivi a while back about it (someone who ended up getting one when it hit 12k). Here are his thoughts:
Hey man, yeah I did get a classic Alexa last December. I've loved it so far. Basically, in terms of functionality it is a beast and not quite as simple as the URSA logistically. It's big, uses lots of power and can be a bit of a pain in terms of getting up and running smoothly once you buy the camera.
Here's what I had to get off the bat to make it just as useful / practical as the URSA. 
- 6 * 155WH Anton Bauer batteries. Each battery giving me approximately 1hr 15m. 6 batteries was the minimum to run a normal shoot for me. $1600
-O'Connor 2060HD head used $6k. O'Connor sticks, $1500. I suppose you could skimp out here and get another head... but man... this thing is no joke lol. You need a serious head. There's older versions of the O'Connor you could probably use though
-4 * 64GB SxS media: $1k. This was the dumbest purchase, because I could have literally gotten a Gemini with an ARRI Raw licence for about that much, and multiple 512GB cards... so silly. Either way, look to spend about that much to make it useful media-wise
-Hot swap battery plate, to run 2 batteries $300
-Good telescoping rosette arms. With other cameras, I could care less, but with how big the Alexa is, I pretty much needed exactly the right length of arm to make handheld feel as natural as URSA or other cameras. I got the shape handles for $1k. Might sound like overkill, but other rosette handles just don't hold up with how much weight you're bouncing around. The solid Tilta handles I had eventually wore-down and the rosettes didn't even lock into place properly because of the bumps and jolts they'd get tossing the camera around sometimes.
There's a few more things for sure, but those were the main purchases.
In the end, once I had everything I needed, it wasn't bad at all. Takes more time to setup for shoots, but less time in post. Footage looks so good, and just the ARRI REC709 LUT looks like a movie every time lol. I'd be lying if I said it wasn't worth it just for the look and how consistent it is no matter what I shoot. I've been loving it so far.

Nice offer!
Still dont understand why we should pay 100! Bucs for VLog upgrade...
i wish you did this before i bought VLog)

"Precision conversions to allow the interchangeability of Hybrid Log-Gamma and V-Log L, for the Panasonic GH5. There are 3 variations of each conversion to accommodate the interaction of white balance with color space: Daylight, Tungsten, and an averaged conversion (4300k)."
EmotiveColor.com
PDF Download
HLG Converted To V-Log L (Tungsten)

If a re-shoot is at all possible, this is a really good idea

Exactly, and more saturation. Soft is the lower saturation base. They have the LogC conversion at their core.
Part of what Arri's 709 does is increase saturation in a film-like way. So - if a film conversion is accurate - it should do the same for LogC

Yes, look up tables intended for log won't work (Rec709 space). Ryan Glover of Dvxuser had an interesting approach of using a partial film emulation on top of Main - which it was I'll have to ask him. Main and Soft give the modern Arri cinema grade that only requires a dial in of Lift/Gamma/Gain to meet spec (i.e. Sicario). For film, and Arri with emulated film (i.e. scenes in Birdman), what I am working on now may involve that  

Yes! I'm excited to see it. Share the results with me when you get a chance : )

@sage just bought your LUT set and going to test out on some existing anamorphic V Log footage that I have.
EDIT: I had time to test in one one shot. VLog to Alexa Log C to Kodak Elite Chrome 200
 
 
 

Here are side by side Log shots (matched exposure & white balance) converted with a film conversion software that is supposed to match Kodak 5213.
These should be identical -
GH5 V-Log to the software's Kodak 5213:

Alexa LogC to the software's Kodak 5213:

Now, GH5 V-Log converted to GHa LogC, and then to the software's Kodak 5213:

And last, an idea of what the Kodak 5213 conversion is supposed to look like, from the software's website: