TrueIndigo

Stop bumping it you buggers, I'm working on 50 different things as it is without being guilt tripped that I haven't finished this one
I'll put up a pic of a new iteration of it next week hopefully. It will of course be in an elecrtic blue case as I still haven't changed that spool on the printer.

Sure; it depends on what you'd like. Fuji and BMD have very good, usable color. I personally will use P4K with GH5; I hope to have EC to do a production this summer.
8 bit is tricky; I'd prefer to only support 10 bit cameras, though I will try to find a way that will give viable production level results with 8-bit. I think Log is not really in the cards there.
 
Bit of really cool news; last weekend, the director of a film starring Josh Hartnett wrote to me to say that they were using the GH5 with EC as a pick-up cam alongside Alexa Minis and XTs.
He said that a senior Star Wars colorist was doing the grade, and said that 'everybody was very impressed' with it. I was pretty thrilled with that

I'm going to be back up to full throttle on EOSHD starting today. For those of you who are wondering where I've been and what I've been doing, here's a glance at what I've been working on...
Read the full article

Here’s a mock-up poster for my film. It was shot with the Canon 28mm 1.8...

If you want a bit of an insight into how relatively rare this camera still is in the wild, I doubled the amount of Pocket 4K cameras that were being used at the BVE Expo in London today when I got mine out of my bag.
I plonked it down on a table that Zeiss had left brochures on but abandoned to setup my app and immediately drew a crowd who thought I was an exhibitor.
Of course I did not disabuse any of them of this belief and promptly started demoing the living daylights out of my app.

There are a couple sort of obvious innovations that have somehow escaped the feature list on most of the current crop of cameras. Things like IBIS that can be locked down when disabled is a big deal, and really adds to the flexibility of the camera.  If you think about it, what good is it to be able to disable the camera intelligently moving the sensor, when the other option is just having it flop about inside the camera willie nilly? It just seems a bit silly to have the disable feature without this locking capability.
Another obvious, but absent feature is the sensor cover that is present on the new Canon EOS R. It's so nice to not have to worry about dust getting on the sensor when switching lenses. Both these features are things ALL mirrorless cameras should have as standard features. 

Sweet!!! Get yourself the SMC Pentax K 50mm 1.4 to go with it... a nice lens as well.
Yeah, I shot that wide open at f/2.
I think you’re probably right on both accounts. He was moving and I added zero sharpening. ML Raw doesn’t have any Sharpening and I forgot to add some default. The one thing I do miss is the Midtone Detail function in Resolve which adds a little crunch to skin and takes away that smoothness but for a wide open, fast Nikkor ai-s lens, I was surprised by how sharp it is.
I’m in the process of putting together a teaser for my film. So stay tuned for a moving image.

@matthere That's the plan, I prefer video tutorials myself. As soon as I can, I will do that. I will be working over the holidays; currently enmeshed in site coding at the moment (server side back end that is a first for me). At its most simple, GHa is summarized as:
1) Applying Main, Soft or Linear
2) Setting Luminance (to conform to cinema luminance, outlined on the waveform guide)
Send me an email with a few tiff/dpx stills; I can do example grades with them and walk you through them

Ok, take the risk, ordered one, it is arriving today. Will try to make some comparison videos with the GX85.

 

@Oliver Daniel Thanks Oliver. Looking at his previous posts, I think he might be referring to luts for LogC, and was confused about what you meant
I hope people will find it worth it, and consider my own personal investment to get it to where it is today. I believe in doing free updates and personal service because I want people to have the best, and to do right by the people who put their faith in me (no matter what or how long it takes)

Emotive Color Version 3
Core LogC Details
- Rewrote engine to work at 65x65x65, main files are now at eight times resolution (supporting files processed at that resolution)
- Fine tuned multi-pass/smoothing technique, to achieve absolute smoothness of final files
- Introduced Averaging (averaging two separate measurements/conversions of a light source)
- Corrected LogC rolloff artifact introduced with Verde
- Corrected far magenta-red artifact
Emotive Color Component Details
- Remade EC component to incorporate new Arri primaries  that were quietly revised this summer for Alexa LF release
      (much deeper, more accurate red placement in relation to blue/green, and subtle hue shifts throughout)
- Incorporated 'Sat Lock-Out", like hue lock out, that is fully accurate to saturation distribution between relative hues of Arri RGB primaries
      (corrects excessive saturation of orange/yellow/green in highlights, and under-saturation of blue in shadows)
- Significantly refined saturation model
- Unified EC for both WBs (taking a que from Arri's single R709) [Tungsten has significantly more contrast, higher ideal exposure]
- Smoother rolloff placement in EC component
- Replaced Pop with Linear (no highlight shoulder, better alternative to Arri R709)
 
- Remade all PREs with latest process (at 65, provided at 33) - much more accurate and smooth
- Entirely new PDF (and supplemental waveforms)
- Added Daylight Skintone SBS
- Updated 'Always Already' with V3 (Download 'Original File' - *Avoid watching in Firefox)

I’ve said this before but I’ll say it again. I’ve worked on about a half dozen DIY feature films and I am finally working on mine now. I don’t think a lot of people realize how near impossible it is. Moving boulders would be easier. It’s as if the world is constantly fighting you. Sheer will and determination is the only thing that gets you to the end credits. So be proud of that. And go make another one. And another one. And if need be... another one until somebody notices it. You have all of the tools and the talent.
I’m reminded of a theory I read when I first started screenwriting. The theory goes, when you first start, there are a thousand other screenwriters aiming for the same sale as I am. After a couple of years, half of those other writers quit and move on. After 5 years, half of those quit. After 10 there are less than a couple of dozen of those original screenwriters still writing. In those 10 years, the odds are in your favor and your craft has grown exponentially. So keep plugging away and tell the stories that show the world who Jonesy Jones is.

@webrunner5 posted it above. I didn’t want to directly embed because I didn’t want any confusion in this GH5 thread since that was shot with a 7D. But my original point stands... if you already have a camera that is really good, in this case the GH5, then don’t worry about what else is available or will be available, just go out and produce work. This is very hard for me sometimes because I want to try all cameras but what I already own is way more than enough.
And in Jonesy’s case the GH5 is also way more than enough. And with Sage’s color, the GH5 is a top notch tool.

Sorry to hear that, makes you realise what's really important!
Very true and it's so relentless, there's a new temptation around the corner every few weeks. Easy to get hooked. These companies are spending millions on getting us hooked. Just like us, they're never satisfied either.
It's like in home audio... Eventually you will end up with an end-game, which is perhaps 5 or 10% better than what you had mid-way through the spending spree.
I am going to review the E-M10 III next. $500 camera. I'm going to use that instead of the Pocket 4K, forget raw. I'm going to go out, have fun with strange Russian lenses, and appreciate how short life is and how the time is better spent with family than with disposable consumer goods.

Well as an old turd that has done a lot more stuff than I have deserved, or ought to have,  and when I look back at it 75% of it was a total F ing waste of time family wise, stress wise, money wise, on and on.
A persons life goes fast as hell, and you never know when you are going to die, or one of your family dies, like my first wife at a young age of cancer did. Hey it happens, but to go thorough all the stress, the shit you put up with in doing it, for really no real gain is pretty disheartening when you look back on it I can tell you that.
You might as well live on a sailboat out on a river or the ocean, in a cabin in the woods and just sit back and enjoy life with not a lot of commitments. All those accomplishments don't amount to shit when you get divorced,  have a heart attack, or wake up one day and your kids are all grown, and it's like man did I waste half my life for What!
I know some of you people make a living doing this stuff, and a hell of a lot as just a hobby. I can see a trend here now in the Video industry that there is NEVER going to be an end to a better toy next year. It is like Smartphones now, You have to have the latest and greatest, and man in the video industry that amounts to a Hell of a lot of money. Tons of money. Is it really worth it. It all goes back to my first sentence. Is it worth all the bullshit? I bet it's not. I am not going to buy anything! I will use what I got, good or bad. A new camera won't make me that much better.

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)

Yeah I took this with my Panny G7 using the 14-45mm kit lens hand held. It is straight OOC.That is the very first kit lens Panasonic ever made and I think they are actually the best one they ever made.
For the money a Panny G7 is just too good to pass up. I know it doesn't have IBIS, but for less than 400 bucks at times what is really better. And it does 4K.

But to add, I think we’re seeing the beginning of a new movement where photography and video pursuits are becoming entangled.
I already see it so prevalently on IG and YT where people will do a photo shoot one week, then a short narrative film the next.
The jobs of writer, director, photographer and cinematographer are melding together into this “content creator” moniker... at least for internet distribution.
Instagram is becoming a mobile art gallery... YouTube is your local theatre and Vimeo Staff Pics is your Sundance.
The next Spielberg will be discovered on IG... but to do that one needs content.
You need to constantly create and upload. There’s not enough time in a day to solely do video.
Now I’m not naive, or delusional, enough to think I’ll be the next Spielberg, or even have a career from any of this. But I enjoy it and there are a lot worse things I could be doing with my time and money.

So... I've been messing around with making a new add on for my controller system and this is it in its embryonic (cardboard and electrical taped chassis) form.

It has 3 dedicated keys on the controller for incrementing and decrementing in stops (it goes to about 95% total blackout) and a clear function. Though this is not a full clear as there is about a half stop of ND at the lowest position.
The level of reduction is actually fully variable but for the implementation I'm after it makes more sense to control it in stops.
As with the other functions, it can be recalled within one of the 8 one touch recall global presets along with exposure, white balance and picture settings.
I've also incorporated an automatic aperture tracking function.
This means that you set the exposure and ND level that you want at a given stop (say f8) and it will adjust the amount of ND up and down as the aperture changes to keep the exposure constant at any aperture.
Right, thats the good news out of the way....
The bad news is that the surface area is going to need to be a lot bigger (these things are usually mounted at the back of the lens but I'm after a front mounting solution for flexibility) to work properly.
Quite a bit bigger and unfortunately that will mean quite a lot more expensive.
The question is how big and how expensive would this be before you wouldn't want it, if you even want it at all? (currently its part of my controller system but I've already ported it to a small micro controller to have it be a standalone as well).
The other question is would you want it within a lens adapter solution anyway rather than it being front mounted (as per the Lens Throttle EF to MFT) so it could be an electronically controlled version of one of those ?
 
 

Well well we all have to admit as of late the line between "Professional" and "Consumer" have really narrowed. When I was most of you guys age you either worked for a place that did video, or you bought a $200.00 at the time spring powered 8mm movie camera. If you were rich you had a Bolex, or my dream camera, a Beaulieu 4008 ZM Camera. They made beautiful looking cameras. Not too many choices compared to today.
Now with the 4K BMPCC coming out it can nearly compete with rich people on an equal footing. The GH5s is amazing, the Sony A7 mk III is, the ML Canon 5D mk III, Canon C100, on and on. We live in an amazing time for video. It is now down to skill more than gear. The tables have leveled. No real excuse these days to not get the job done.
 

If I remember the DVX100 hack started on the DVInfo forum (in the Alternative imaging section), then they got their own website and it was named Andromeda. There seem to be a lot of desperate stuff going on in those days - I was one of a handful of people trying to use industrial camera heads for video, RAM-recording about 20 seconds at a time of Bayer video to a laptop, great times!  

If I remember the DVX100 hack started on the DVInfo forum (in the Alternative imaging section), then they got their own website and it was named Andromeda. There seem to be a lot of desperate stuff going on in those days - I was one of a handful of people trying to use industrial camera heads for video, RAM-recording about 20 seconds at a time of Bayer video to a laptop, great times!  

I also remember following this development all those years ago. It seemed as exciting back then as the start of the Magic Lantern RAW video hack.

Ive enjoy this little pocket 4K "camcorder" vey much so I had to put together a review.
 
 

Hey Glenn, G7 even fits better. Just the buttons are worse regarding size and clicking. Colors are great to grade. And it works well at iso 1600 in lowlight, better than G6 at 800.