hyalinejim

I gotta try this when I get back into Resolve. For convenience 90% of what I do is Lumetri with a lut loaded. Curves are ok before the lut for exposure adjustments, although not very accurate. But its WB controls are hopeless for correcting log footage equally across the range from light to dark.

I use 2 instances of OpenColorIO in AE, then pop it back to VLog and use a custom lut I designed for Gh5 VLog based on Portra 400. It means I can make WB and exposure adjustments in ACES where AE's legacy brightness control +15 = 1 stop and CC Color Offset does global WB. Then it's back to VLog, then my lut. It's a bit cumbersome so I only do it when I'm feeling fancy. I haven't yet found a way of doing accurate corrections to VLog in Rec709 space. So it's not a fully ACES compliant workflow, but the ability to make accurate corrections when in ACES space...

This. I've found an ACES workflow to be a revelation in terms of fixing WB and exposure issues with relative impunity for GH5 10bit.

A few years back I came to the conclusion that GH5 10bit 422 VLog was pushable enough without losing quality for me to make the leap from ML RAW and not feel I was missing out.

Decide on the style and format of the doc and then get those shots. - Interviews, yes or no? Who to talk to? Where? What questions? How should it look? - Voiceover, yes or no? If so, write the script for the VO and record it Once you have the interviews and/or VO you can put a rough edit in place and then you'll know what B roll you need to illustrate the points being made. And if you know some of this in advance you can begin to capture the B roll now, in which case you should also think about what style you want to shoot it in.

Yes, my 5D3 spanned almost all of the decade in 3 stages - normal h264 - mlraw - mlraw at higher resolutions

Nice work!

I just tried it now. The results are not so good. Adding the Arri colour space transform to GHa Main pushes a lot of the reds into negative clipping. This is especially noticeable in dark and deeply saturated reds, blues and purples. Lowering the saturation of GHa Main by a lot prevents this clipping. However, the issue is still evident (although not to the same extent) in GHa LogC. This means you might see some unnatural colours when using GHa LogC with LUTs that expect an Arri input. I would not use Soft or Main with Arri Luts at all. VLog - chart exposed for middle grey Add GHa Daylight Main Add Arri LogC to X 2 gamut only If you look at the bottom of the waveform you can clearly see the red channel going AWOL in this step from GHa LogC to the Arri X 2 gamut (this chart shot was ETTR, and has no clipping) GHa LogC: Now add transform to Arri gamut:

In the denoised version there are a lot of macroblocks that simply don't get removed at all. AFAIK Neat Video has options to remove codec nasties - have you tried playing with those settings?

@BjornT I generated it with LutCalc: https://cameramanben.github.io/LUTCalc/LUTCalc/index.html But the one in Resolve should be the same.

But Main and Soft don't perform the transformation from Alexa Wide Gamut to Rec709 primaries. So the hues are "wrong" - the are the colours of an acquisition colour space. GHa LogC to Alexa X 2 gamut gives colour as Arri intended, I'm thinking. But Main and Soft are simply slightly more contrasty and more saturated versions of Log C (with saturation roll-off?). Now, this might be of interest as a look in itself, especially if people are grading Arri LogC directly and leaving the colour space untouched. But I would suggest to you that if Main and Soft are your interpretation of a film-like Rec709 look with saturation roll off and other good things, then you should transform the primaries. The ColorChecker shots above demonstrate just how far out Main is. The hue, saturation and value of colours are significantly skewed as they haven't been transformed to Rec709 primaries. So am I right in saying that if I want to match Alexa colour, GHa LogC plus a LogC to Alexa X 2 gamut lut is the way to go?

@Sage Am I right in understanding that your lut converts GH5 VGamut to Alexa Wide gamut? If so, the "correct" way to use your luts would be to use GHa LogC with an Alexa Wide Gamut to Alexa X-2 conversion. When I do this, colours look more correct - not too saturated and skintones are not too magenta. Here's a comparison with actual X-Rite colorchecker values from BabelColor in the centre as a reference. I've added a curve to each to match to the chart's gamma. (VLog to GHa LogC) + (LogC Gamma & Alexa Wide Gamut to Alexa-X-2 Gamma & Alexa-X-2 Gamut) BEST MATCH (VLog to GHa Main) - too saturated (VLog to Varicam V709) - better, but not as good as the first one So as far as I can see, the colours that GHa gives should (technically) be transformed by using them with a LUT that expects Alexa Wide Gamut. So I'm curious as to what you see is the role of GHa Main and Soft? I understand your reasoning for the curves you chose for each, but what about the colour?

You get different options depending on whether you have mlv_rec or mlv_lite modules loaded. MLV LITE: If you go into the menu for RAW Video you should see an item for Data Format - you can change bit depth and compression. Lossless plus slightly lower bit depth allows longer recording times, higher frame rates, higher resolutions in crop_rec. There is no sound, or at least there wasn't last time I looked into this. But read this https://www.magiclantern.fm/forum/index.php?topic=16650.msg192161#msg192161) MLV REC: You can change bit depth only

The advantage of MLVFS is it just mounts a virtual directory of DNGs straight from the MLVs - no converting is necessary. The disadvantage is that it's almost impossible to figure out how to install it on Windows! I know that at one point in time I followed this video, and it works. But this might be out of date. But I can't remember if I changed things since then. MLVFS still works for my now on Windows 10. I just right click on MLVs and select "Quick Mount" and they mount into DNG folders (if you have a lot it can take quite a while). You won't regret learning Resolve. It's very useful to know it.

There's a world of options when it comes to ML post. I just want to point out some things here that might be useful when you have time to investigate them. Check out MLVFS to quickly turn your MLVs into DNGs without transcoding. Then you can try workflows that have better image quality. These are Camera RAW to AE (slow but excellent) and Resolve (fast and good). For example, these screengrabs show highlight recovery is worst using MLVs directly in Premiere: Premiere: Camera RAW (ML-Log DCP profile) to After Effects: Resolve (Arri Log-C):