JeremyDulac

Wanted to share more GX85 Cine-D samples. It's fun to carry around with the 14-42mm pancake for impromptu video when I'm not using it for photos. Additional coloring was done on top of GHa.

Thanks! Yeah the short you mentioned is called "Best-Seller", is now on some streaming services, also in youtube.
You are right, when watching this color, is very tempting to go for this look. But the B&W style was something i already decide in Pre-production. Is gonna take some time, I just made a first-cut, then come sound design, scoring and Mastering. But is looking neat!
I shoot in 4k, then down scale. Looks better and you can push it more in post.
Here i used a lot the Sigma 18-35, and then a 50mm Super takumar(super filmic!)

Hello everyone!
I'm been working in several projects lately, here i wanted to to show some still of a new short film i shot last week. The final look will be in black & white, but here i will put some stills in color with V3 and my grade. Also some Vlog stills. 

Vlog:

Great work Sage! I have been using you're luts the last couple of weeks, and it just works perfectly. Im currently shooting on a gh5 with atomos ninja V 
 
Here are some stills. The video can be seen here 
 

 

Some shots taken this evening. Not much grading other than V3 and some minor tweaks. These were wrapped in prores, as I used the Ninja V, so they aren't optimal. But I am really loving V3! So beautiful.

Indeed, I'd like to write a guide for FCPX (I'll need to get something better than a Mac Air for it). I assume it doesn't have the unique color space distortions that Premiere does, but I haven't measured it (to make PREs)
65x65x65 is eight times the resolution of 33x33x33 (cubed). The files are ten times larger, and being a fan of efficiency, I wanted to stay with 33x. It gets 90% of the way there, and combined with tetrahedral interpolation (available in Resolve), it can be very smooth. I recoded the color engine to work at 65x (which cleanly downsamples to a cubed 33x), so that the calculation could be done at this finer resolution. But I tested the 65x files against 33x, and the accurate nuance and smoothness (especially in programs with trilinear interpolation, like Premiere) of 65x was simply better. It is subtle, but I decided that the trade off of 10x larger files was minor for those who wanted the utmost in quality (personally, I will only use 65x, but the 33x option is always there)
@JeremyDulac Thank you Jeremy for the kind words! 65x all the way ;)

Did you give the 65x go ahead (in the email)? I'm presently inundated with V3 emails and stuck at work, but I will get up to speed later tonight*
Looks stunning. I quite like the warm WB as well - I wonder if it might be matched with a correction following the neutral conversion?

I’m surprised so many professionals use copyrighted songs... ?

This is what gives them the right to do whatever they want!

https://vimeo.com/terms
 
 
 

Why is everything a scandal with you?

I shot a music video this weekend, here are some stills using the new V3.
This are from HD slow motion, so there is a little loss in quality. I applied noise reduction to smooth the compression and make the grade more seamless. All was capture with CineD.
The first are with the "Main" lut and then corrected, and the second ones are my grade with LogC.

Here they are with the new V3 Main, and levels set per the Pdf, with WB correction as best I could:

Sage, this is bloody amazing. I've read the whole thread now and watched just about every video posted. I didn't really consider the GH5 (small sensor etc.), but with these settings, it blows everything in its price range away. Sony colors look mighty wonky compared to this. If I get a GH5 this is an insta-buy.

Starting around 1:49 the rest is from the GHA
 
 

@Sage can you post another link to the manual? I know it is somewhere in this thread but I can’t read through the entire thing again and I don’t see it on your website. 
Kern’s are Swiss, but as a general rule anything over 25mm SHOULD cover the sensor. It gets a little more complicated when you try TV lenses, then you need to look for ones that are for 1” sensors. With the G7 and GX85 I was able to get full coverage with 12.5mm Fujinon and Canon 1” TV lenses but those cameras had a slight 4K crop.

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.

@JeremyDulac Thanks for your answer ! So you are using an adapter right ? Are you shooting 2K ? 
The aesthetic out of your frames definitely has a super 16 feel, it's very exciting. 
@Sage is there a FB group for the community ? 

@Ryley K @Téodor Spencer  Hey thank you both! Ummm for lenses these were all from either an old Nikon 28mm 2.8  and a 35mm 2.4 Zeiss Flektogon - I always use a black pro mist 1/8 on all my footage. I don't do too much to get to this look - I follow Alex's methods, adding his olpf simulation on the front end. I then use his curves recommendation  with the 'hue pass-through' method. After that I add some extra contrast and saturation in LAB colorspace to give some extra color separation and then add some film grain. 
Alex has done something truly incredible with this lut in my opinion - He has totally flipped the idea of what a lut is capable of on its head.  

@Ryley K @Téodor Spencer  Hey thank you both! Ummm for lenses these were all from either an old Nikon 28mm 2.8  and a 35mm 2.4 Zeiss Flektogon - I always use a black pro mist 1/8 on all my footage. I don't do too much to get to this look - I follow Alex's methods, adding his olpf simulation on the front end. I then use his curves recommendation  with the 'hue pass-through' method. After that I add some extra contrast and saturation in LAB colorspace to give some extra color separation and then add some film grain. 
Alex has done something truly incredible with this lut in my opinion - He has totally flipped the idea of what a lut is capable of on its head.  

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.
...

Hey guys, sorry for the delay. I'm deep in technical at the moment. I can be reached directly via email
Noise amplification and artifacts are completely absent with the conversion (others feel free to chime in); the next update will hit the theoretical max for smoothness, for which I am very excited
No S yet, I'm still completely occupied with updating the 5; in any case if I get to it, you will get it
All-I is on the level with ProRes, if you'd like to record internally
As of this moment, VLog is preferable to C-D & HLG, because of the directness of the conversion (the fidelity/smoothness is simply better). That gap is about to close considerably
For normal speed, you can overexpose, no need for more than a stop (avoid skintone around/above 65). Avoid underexposure* Of late, because of the nature of grading tools and complexity of hue lock outs, which I will cover in the next Pdf, I think it is best practice to try to expose for your preferred final image using the .vlt in the viewfinder (for reference performance, especially for PPro users).
For 120, *definitely overexpose - just avoid placing anything important deep in the rolloff. Monitoring Luts are for VLog only
Thanks man. The two biggest compliments I've received were from Amira shooters. Andrew Wilding said he preferred EC 'Soft' to the Amira itself, which made my day*
Here is a still using Verde and something more recent:
v2.2 Verde

?

 

@Sage Nah, I bought it anyways, looks too good not to give it a try.

I would love to see how you got it to look this good! Still trying to figure out some things. Hopefully that tutorial Sage was talking about will drop soon. Great work!

@JeremyDulac It's just stunning. Very impressed with the results. Can I asked which lense you used -& filtration- ? 

I'm new here and I've been actually working with an Alexa Mini for quite a long time. I heard about Emotive Color yesterday, did some research and I still can't believe how organic the footage look with the conversion. Congrats @Sage, I'm definitely buying it.