JeremyDulac

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.

A few from my trip this weekend.

A few from my trip this weekend.

Oh come on. There has never been a more Cult Following camera than the BMPCC. Probably me included. I look at BM as a poor mans Red camera.
But the problem is this is beginning to look like a typical BM roll out.  And that Ain't necessarily a good thing.

I inserted myself into the discussion last night when I probably shouldn’t have, but I do stand by my opinion that Andrew should have been invited to the Manchester event.
I, for one, never felt that John Brawley was to blame for this and feel that most people on this site have been very thankful for his contributions, not just about info on the upcoming camera but his openness about the inner workings of a Hollywood set and his methods of shooting.
But the disdain displayed to Andrew in this thread is mind boggling. I don’t always agree with him, but the man has wholeheartedly opened his craft and home to a countless amount of strangers for free. There is not one other site in the video community that is completely ad free and he rarely asks for a thank you. I can only imagine the cost it is to upkeep this site. I’d be a liar if I didn’t admit that I find him infuriating at times, but I would never question his devotion to his craft and his readers.
With that being said, I feel JB’s reply to the events was unnecessarily rude. Perhaps there was a breakdown in communication as Andrew has already stated but for every person that felt Andrew could have handled the snub differently, they should equally admit that JB could have handled his response differently as well.
BM was born on the backs of hobbyists and enthusiasts. We paid for the R&D of the Ursa Pro with every Pocket or Micro we bought. As much as we appreciate their inexpensive cinema cameras, they are only available because we decide to purchase them... it’s like a television show, it only exists at the behest of its viewers.
But in the end, they are both artists and artists are passionate, honest and sensitive people... they must be to put themselves and their work out into the world for scrutiny.

A few from my trip this weekend.

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 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 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 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 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!
 
 
 
 
 









 

That's a good idea. I'm going to do a tutorial video, and streamline the vital points to emphasize them.
Yes, the Premiere PRE (for VLog) corrects a subtle green distortion in VLog shadows that is unique to Premiere. Then you may use 'Main' in the 'Creative' section. The LogC variation is a distinct workflow (exact copy of what comes out of an Alexa, as measured at every point in the colorspace) that requires a (3rd) display Lut.
Main prepares everything nicely, so that you are right in range of correct cinema luma placement (a place graders often go awry), have the correct Arri RGB display primaries for LogC, and have ideal saturation placement (especially with v2.2).

You have proof that this isn't a fake? It's easy enough to create an impressive PDF showing whatever video specs that you want. That document is on Google Drive not on www.canon.com

Thanks @JeremyDulac I've been looking for it so I could experiment with it.

@Maverick530
@Maverick530 I attached a copy of the lut i ripped before they removed it from the site. You can also apply it as a 3x3 matrix: Bottom of page 7 in this document shows the matrix required: http://www.centron.sk/Storage/Document/Product/3453-2012-08-02_Alexa_LogC_Curve-Usage_in_VFX.pdf
Or a DCTL: last post on this thread: https://forum.blackmagicdesign.com/viewtopic.php?t=61073&p=348495
 
AlexaV3_EI0800_LogC2Film_EE_davinci3d.cube

@Maverick530
@Maverick530 I attached a copy of the lut i ripped before they removed it from the site. You can also apply it as a 3x3 matrix: Bottom of page 7 in this document shows the matrix required: http://www.centron.sk/Storage/Document/Product/3453-2012-08-02_Alexa_LogC_Curve-Usage_in_VFX.pdf
Or a DCTL: last post on this thread: https://forum.blackmagicdesign.com/viewtopic.php?t=61073&p=348495
 
AlexaV3_EI0800_LogC2Film_EE_davinci3d.cube

Bravo ?

@Maverick530
@Maverick530 I attached a copy of the lut i ripped before they removed it from the site. You can also apply it as a 3x3 matrix: Bottom of page 7 in this document shows the matrix required: http://www.centron.sk/Storage/Document/Product/3453-2012-08-02_Alexa_LogC_Curve-Usage_in_VFX.pdf
Or a DCTL: last post on this thread: https://forum.blackmagicdesign.com/viewtopic.php?t=61073&p=348495
 
AlexaV3_EI0800_LogC2Film_EE_davinci3d.cube

Ahhh very interesting. Many thanks for all your work, as usual!!

It is my favorite method, because the Resolve luma curve is precise, and direct for luma placement. And for a neutral full saturation style, it used to just be the conversion on one node, and a luma curve on the next. Thanks to David L'Abbée, I discovered that it distorts hue. This means that (for example) a given red twists toward green as it gets brighter; and the other hues (MBCGY) twist away from where they should be with brightness change (contorting the color space). Ideally the curve should be coded to 'build-in' this hue pass, though we can do it manually

Pt. 2
Here are the steps. Desaturate is actually at 23 on the far shot (context change)
(Note: the Hue Passthrough is just an empty node, and the Layer Mixer is set to a Composite Mode of 'Hue' - right click on it. This is just to prevent hue distortion from the luma curve)

Cool Night!

@Sage , that looks really nice! What was your process grading those stills?

@Wild Ranger What do you think of this?