Wild Ranger

Yeah, the GH5 is a beast. 
Used it alongside the EVA1 and it’s no slouch! EVA1 has smoother highlights, nicer noise and motion cadence - not that most other people would notice.
Have you tried @Sage‘s Alexa conversion yet? It’s absolutely nuts!! It makes the GH5 into a different camera (better!). 

Very good works ? Especially short horror film is great ! But what I noticed is that GHA color science makes video more retro (vintage) look. Am I wright you are saying that it is standard use ? Or what u are saying by "non-standard use". Also, is there any Arri Alexxa LUT's tested with GHA ? I want to see variations of use for this beautiful color science. Thanks.  

If we are praising the GH5 here...
I would love to share this work i made with it. Loving this camera ♥️
 

If we are praising the GH5 here...
I would love to share this work i made with it. Loving this camera ♥️
 

If we are praising the GH5 here...
I would love to share this work i made with it. Loving this camera ♥️
 

Why spend time pining for a Blackmagic P4K when the GH5 does footage like this in 8bit 4K 50p? Not even 10bit!!
How can it get any better?
Invest in glass!
 

I did use a C-mount adapter for that one, for my other lenses I use the Viltrox with EF mount. The super 16 gives a lot of vignetting, I used it with the 4:3 4k mode and also the EX-tele converter, those two modes gives the exact crop for a super 16mm sensor.
Here a frame in native 4:3 mode.

I did use a C-mount adapter for that one, for my other lenses I use the Viltrox with EF mount. The super 16 gives a lot of vignetting, I used it with the 4:3 4k mode and also the EX-tele converter, those two modes gives the exact crop for a super 16mm sensor.
Here a frame in native 4:3 mode.

Yeah! the Vlltrox adapters are really good. I have the EF-M2 (the focal reducer) and it's great, really sharp and cheap!
The 16mm vibe it's there. I have tested the GH5 with a super 16mm, a Som Berthiot Pan Cinor 17-85 f2 lens. And there is some magic when added with this Luts.

Hi everyone!
I'm just passing by to show this...

It's a Som Berthiot Pan-Cinor 17-85 f2. Old C-mount lens from super 16.
In a couple of hours I'm uploading a video test I show with this one, using Alexa color and some Super 16 film textures that had shot my self a couple of years ago.
...

A few test stills showing some daylight and mixed lighting - I also posted a couple different exposure of shot to show clipped highlights. I have finally developed my node structure in resolve to a powergrade with the olpf, the hue passthrough and my extra contrast added after GHa in LAB colorspace. Seeing as I how I haven't convinced work to invest in Pansonic(they use sonys sadly) I will hopefully have my first personal shoot coming up to really put GHa through its paces. Loving this conversion!
 
 
 
 
 









 

A few from my trip this weekend.

Exactly! Is a matter of been able of choosing different stocks and Luts for starting point. Arri Log-C is universal and widely supported.
That said, I really like sage work on "Main", i'm planing on using it more often.
I'll keep that in mind and try that way!

Sure,
The format that the Arri Alexa actually shoots to is LogC. The LogC conversion conforms VLog to the exact output of the Arri (when the footage is WBed correctly under a supported light source)
From there, the LogC data format needs to be conformed to the display to allow the correct handling of RGB. The standard approach for Rec709 is to apply the Arri R709 Lut to the footage (which has the correct RGB primaries). Other Luts and workflows intended for LogC may also be used following the LogC conversion (the Alexa is often well supported by 3rd parties).
My experience has been that Arri's default 709 color space is a very uninspiring starting point for me. The underlying color science is great, but the luma and saturation placement is just not very cinematic.
Enter Main/Soft; these include the LogC conversion, combined with a luma and saturation placement that I much prefer (and conforms to the 'Sicario luma ceiling'). They include the Arri R709 primaries for correct RGB on a Rec709 display. The base look is informed by film (celluloid) luma and saturation. I may release this as a separate component for Arri users eventually (the 'Emotive Color' component)
The following is from an Alexa Mini (Master Prime 35mm):
LogC

Arri 709

EC Main

(Click to see in the correct dark context, the page is very bright)

In his case, I believe he is using a Film Lut intended for LogC. Arri tends to be more rigorously supported by third parties (accurate film conversion). This would be a very different starting point from Arri's R709 Lut. Main/Soft are a nice place to start grading from (without further *technical transforms etc.)

In the interest of conversion fidelity, its worth noting that exposure corrections should go after GHa, and WB corrections before (the core LogC conversion is a delicate thing, so to speak)

Hi everybody!
It´s been a long time since the last time i pass on this forum.
Now i wanna share my last work, a fashion/music film.
Shot with GH5 and using @Sage Alexa color for starting point in the grading. Using 2,21 aspect ratio. Mastered in 2.3k (2386x1080)
Hope anyone can enjoy it.
PS: Soon I'll share some stills for comparison. 

Hello!
Thanks for the comments, I really like you guys take the time to watch it.
Here I share some still, Pre-and-post color grade. The raw was shot on Cine-D and then converted to LogC. I didn't have the time to try the "Main" grade, maybe someone wanna give a try? ?

I used some variation of Kodak Vision, also I have some love for the Fuji Eterna. That helps to establish a base grade, then i start with my own secret sauce.
I will only reveal that some important ingredients of my grading are, Diffusion and warming the shadows/cooling the highlights.

Hi everybody!
It´s been a long time since the last time i pass on this forum.
Now i wanna share my last work, a fashion/music film.
Shot with GH5 and using @Sage Alexa color for starting point in the grading. Using 2,21 aspect ratio. Mastered in 2.3k (2386x1080)
Hope anyone can enjoy it.
PS: Soon I'll share some stills for comparison. 

That's not a plugin or effect, The original take is pretty long, then the actress poses and then we change position, angle and pose. That is repeated for a entire long take. Then in post, I use normal speed and then speed ramp to the other pose. Some positions have been edited to between takes and cross faded. At the end i added motion blur to the transition to make it look like a Hyperlapse. 
Wow thanks!  
I actually go more towards narrative drama, I made a feature and some short films. But sometimes i like to play and try different approaches to story. It's all about the joy of the process. 

Actually, for me camera- and post- color manipulation goes totally to the second plan... it seems to me that you dispose with truly high level of object composing, subject positioning and colors-harmonization intuitiveness. Many used angles and tonal compositions are so nicely chosen  to provide brilliant accompaniment for according psychological aim... So, if it in general has a sense and if it is necessary at all, I encourage you to invest deeper in drama-shooting treatment, having great talent, feeling and eye, capable to - at favorable circumstances - result in something like, say, Enter the Void  
(Lets say I have some aesthetic background to dare to notice something like this :)

I quite like Main - it was made to be an ideal 'grade space'
Smooth skin handling, filmic saturation envelope, and cinematic placement by default (just requiring black level). The core principle behind it was that all hues must remain identical in relative saturation and hue to LogC+709 (i.e. no color science change)
You've gotten to gold both ways though, bravo

Here, I just tried this...
It´s graded using the "Main" lut. CineD-to-Vlog-to-GHa daylight "main".
This below is the original.

 

Nope!