Sage

Apologies for the slowness, they're going out at snail speed. If you haven't received it yet, and want to get it right away, just send me an email (most should have it by now). I'm going to resend some of the first, because I believe they went to spam.
Before the summer

Apologies for the slowness, they're going out at snail speed. If you haven't received it yet, and want to get it right away, just send me an email (most should have it by now). I'm going to resend some of the first, because I believe they went to spam.
Before the summer

He has done an excellent job of matching color spaces solely using color tools. A 3x3 matrix is kind of like a uniform accordion of R,G & B space, the cleanest tool for the job. The unique advantages to this approach are its tweak-ability, and that it won't clip boundary data in Resolve if you place a grade before the powergrade (grade after though; preserve core logc)

He has done an excellent job of matching color spaces solely using color tools. A 3x3 matrix is kind of like a uniform accordion of R,G & B space, the cleanest tool for the job. The unique advantages to this approach are its tweak-ability, and that it won't clip boundary data in Resolve if you place a grade before the powergrade (grade after though; preserve core logc)

He has done an excellent job of matching color spaces solely using color tools. A 3x3 matrix is kind of like a uniform accordion of R,G & B space, the cleanest tool for the job. The unique advantages to this approach are its tweak-ability, and that it won't clip boundary data in Resolve if you place a grade before the powergrade (grade after though; preserve core logc)

He has done an excellent job of matching color spaces solely using color tools. A 3x3 matrix is kind of like a uniform accordion of R,G & B space, the cleanest tool for the job. The unique advantages to this approach are its tweak-ability, and that it won't clip boundary data in Resolve if you place a grade before the powergrade (grade after though; preserve core logc)

He has done an excellent job of matching color spaces solely using color tools. A 3x3 matrix is kind of like a uniform accordion of R,G & B space, the cleanest tool for the job. The unique advantages to this approach are its tweak-ability, and that it won't clip boundary data in Resolve if you place a grade before the powergrade (grade after though; preserve core logc)

He has done an excellent job of matching color spaces solely using color tools. A 3x3 matrix is kind of like a uniform accordion of R,G & B space, the cleanest tool for the job. The unique advantages to this approach are its tweak-ability, and that it won't clip boundary data in Resolve if you place a grade before the powergrade (grade after though; preserve core logc)

EOSdh rumors is reporting that EOS R0 will have built in laser gun for zapping zombies in the coronavirus apocalypse. Also comes with a free snake potion in the box and 5 bottle caps for trading with Pentax users... The last survivors,

Nice work!

Nice work!

tell me about it.
Have to do everything manually too many customers. 😄

Within the week; I'm finishing the last details and trying to figure out email. Email is a logistical nightmare

Within the week; I'm finishing the last details and trying to figure out email. Email is a logistical nightmare

Within the week; I'm finishing the last details and trying to figure out email. Email is a logistical nightmare

Within the week; I'm finishing the last details and trying to figure out email. Email is a logistical nightmare

Within the week; I'm finishing the last details and trying to figure out email. Email is a logistical nightmare

They are Exposure Pres, conversions made with the same interpolation system as the other conversions (converting color in the mix). Its a lot of fun to use in conjunction with the conversion. The P4Ka workflow video shows it in action in Resolve, though it applies to every NLE (and the Posts, which are an essential part of the picture):
They may be stacked in order of greatest to least, and all may be used in conjunction with gain key/opacity to dial in an exact value (Post or Pre).

They are Exposure Pres, conversions made with the same interpolation system as the other conversions (converting color in the mix). Its a lot of fun to use in conjunction with the conversion. The P4Ka workflow video shows it in action in Resolve, though it applies to every NLE (and the Posts, which are an essential part of the picture):
They may be stacked in order of greatest to least, and all may be used in conjunction with gain key/opacity to dial in an exact value (Post or Pre).

Sharpness at -5 for sure. NR can be a personal preference (some are noise averse and prefer the ease of NR in cam). Though -5 would be the Arri equivalent, from a purist perspective.
Indeed, for VLog, 400 is the base. Then it goes to 200 for Cine-D, but this is just the labeling (200 really is 400, in VLog land)
Yes; lately I've been recommending the simple rule of thumb to anchor everything around the center of the waveform (leaning higher rather than lower), no matter the profile. This is because all profiles share this middle 'cross point', and diverge from there (with varying contrasts), and 50-60 is generally where midtones should place (in exposure for EC709, not for post placement). The great news is that exposure/luma is about to become a breeze, in roughly a week.

The 1080p mode on the GH5 is really quite good; if like me, you are happy with a dense 2K image, then 1080p offers the most bitrate saturated options in the camera (no affect on color)
Cine-D has a slight bit depth density edge over VLog, while VLog has a slight extreme gamut edge. With 8 bit, Cine-D is decidedly better
Great work Parker and Benjamin! Alas, I've got to get the next update out..
Just finished writing one last tool that I believe will be critical for automating camera support, to do the Exp Pres (it is the fourth 'sub-section' of the ECE)

They are Exposure Pres, conversions made with the same interpolation system as the other conversions (converting color in the mix). Its a lot of fun to use in conjunction with the conversion. The P4Ka workflow video shows it in action in Resolve, though it applies to every NLE (and the Posts, which are an essential part of the picture):
They may be stacked in order of greatest to least, and all may be used in conjunction with gain key/opacity to dial in an exact value (Post or Pre).

Vlog does have the custom view assist .VLTs...otherwise, I don't see many drawbacks to shooting CineD.

Sharpness at -5 for sure. NR can be a personal preference (some are noise averse and prefer the ease of NR in cam). Though -5 would be the Arri equivalent, from a purist perspective.
Indeed, for VLog, 400 is the base. Then it goes to 200 for Cine-D, but this is just the labeling (200 really is 400, in VLog land)
Yes; lately I've been recommending the simple rule of thumb to anchor everything around the center of the waveform (leaning higher rather than lower), no matter the profile. This is because all profiles share this middle 'cross point', and diverge from there (with varying contrasts), and 50-60 is generally where midtones should place (in exposure for EC709, not for post placement). The great news is that exposure/luma is about to become a breeze, in roughly a week.

With Cine-D, you'll want to set Saturation to -5, and the rest at default. Also, use ISO 200 (instead of 400; 200 is the electronic equivalent of HLG/VLog's 400).
Highlight range (and gamut) are a 1:1 with HLG/VLog, once PRE'd. Here is an overlay of samples clipping (VLog overlayed on Cine-D):