JeremyDulac

let's stick to facts, not going after this random dude, whoever he is.
Also weird about "All or Nothing" doc that Jim Jannard allegedly knew about Lance Armstrong's doping.  Haven't watched it all, but man, someone needs to do a film on Jim Jannard.  Wow.  After hearing about Jeffrey Epstein's billionare friends as well, I just have to wonder:  are a lot of billionares like this?
 
From the doc: from person giving testimony on a phone call:  "I told Jim that I can't lie.  And he said, well there's ways around it."

WOW.  Love this analysis.

I think that the price of RED's components is not at all the issue. The issues, as far as I can tell, are:
- RED has a patent on compressed raw recording, which many people believe is too broad, and is either an invalid patent, or an example of the failure of the patent system. RED's patent is so broad that other camera companies cannot even develop their own compressed raw formats--hence Blackmagic's Braw is "partially debayered." It's not just filmmakers, apparently Apple is currently challenging the patent's legitimacy.
- In the past, RED has threatened individuals such as Andrew with lawsuits to get them to be quiet. As written in the blog post, a private individual would be financially unable to counter the lawsuit, whether it's valid or not. Many consider this to be bullying.
- In regards to the Jinni Tech controversy, Mr. Royce has provided evidence that RED's claims of custom firmware and "made in the USA" statements are false. If Royce is right, then RED has broken the law and lied to its customers. Additionally, RED claimed that Jinni Tech stole intellectual property, which Royce has also disputed. Again, if Royce is right, then that is libel.
- The issue of overpriced components is really incidental to the whole story, despite being an exciting headline. The only issue with the pricing is that there may be false advertising--RED can charge whatever price they want, but only if they are honest about what they are selling.
That's my summary of events thus far, hopefully fairly accurately (feel free to set me straight).

Yeah because if you go arri forum and complain about Codex prices they are probably gonna say ''fuck off if its expensive for you maybe you shouldnt own any ARRI product ''

As far as I'm aware, Arri doesn't have a culture of toxic masculinity.

Please somebody explain to me why all these people attacking RED? Whats the motive? 
I dont see any furious messages or videos against Arri Codex prices and how Arri screwing people with those crazy inflated prices.

Its not the color science thats different its the cameras sensor or color filter array that can “see” more colors than a lower quality sensor. A sensor from one camera could see more red than the other BUT since they are all using the same color space & gamma the results are always predictable and manageable. 
i.e. rec709 is 6 stops of DR whether its coming from a sony or a canon @JeremyDulac

@Sage like I said earlier these look nice and no one can take that from you but this looks more like a hue, saturation, luminance adjustment to match the cameras. There is a lot more to a color space than an HSL and gamma/contrast adjustment. LOG C has a wider color gamut than VLOG L which would probably cause a lot of issues using certain LUTs designed for LOG C. This is more like a look LUT than a technical one but I guess I can’t make that assessment until I put them in my NLE
again these look nice but I don’t think its a true colorspace conversion. 

Highlight recovery needs to be used at 400 iso still when ettr'ing, it seems super whites get clamped. Not sure if maybe Gerald's understanding is off, but you definitely need to use it at 400 iso in my testing.
 
These images are original, then lowered exposure and then lowered exposure with highlight recovery on.

Hi everybody!
last thing I publish with GH5 Alexa.
https://youtu.be/mFdDYp4pgrU 

 
 
 

great work

Thanks! I agree - the GHa lut seems to already play really nice with the P4k...the main workaround right now is in the highlights, since the p4k has more dynamic range, you have to bring down highlights before the lut.
 

Man! Great pics! Whats your process of converting from BMD Film to Vlog?
Absolute Legend - The man Sage! Started production on my feature....Cant wait to use these on my pocket camera. 

Those look pretty amazing as is. I finished the first tungsten conversion today (mostly). Still have some refinement to do. Here is an idea of it, a sample slice from both cams:

The first and second grab look great. I don’t think Sage will have to do too many tweaks. 

I have been using GHa on my P4k until Alex has the new lut ready. Thought i'd share a few tests - I feel like it is working quite well, and handles over-saturated reds and blues pretty nicely. Looking forward to the official lut

Yes, to Rec709 Gamma 2.4 (or simply Davinci YRGB for Color science). The project-level color management settings come into play when you want to conform all footage from one color space to another (with EC, the conversion does the conform). The S will come shortly after the P4K (next up)

Ahh interesting. Good info, thanks.

not using color management or ACES on project level anymore in Resolve. Since version 15.2.3 it is completely messed up (alpha especially).
Switched to using CST or ACES transforms and recently to adjustment layers. Works quite well.

Just switched to ARRI colorspace. Having more luck with dark blues in comparison.
And color separation between yellows and reds is better.

Roman Alaivi did a side by side test yesterday with his Alexa C; he'll be shooting a film in FL next week with both, using the GH5 as the gimbal camera
 

Thank you good sir! Yes, that is a problem; Resolve is the reference (Premiere also had a similar issue, requiring a Pre). I will look into this.
Hey there, I saw your email. Cine-D is the one that fits the 8/10 bill.  I'd recommend any other codec than the 150 4K
Working on it as we speak (summer methinks)

You'll be fine there; the in is the same as the out and timeline (no transform). Here are the defaults (or can set to 'DaVinci YRGB', and Rec709 2.4 Timeline):

 
Here's something I put together in Premiere with 'Soft' and the luma sliders (under color wheels:
 
 

I'm keen to have a native P4K conversion in the relatively near future btw

Another factor is, everyone will have the reference NLE; that really appeals to me. Its hard to beat that luma curve + hue lock out workflow.