hyalinejim
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Posts posted by hyalinejim
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5 hours ago, Towd said:
So, what I meant was that the Arri LUT generator is nice for getting near Rec 709 and playing around with rolloffs, but its not going to be as precise as Panasonic's LUT for getting to Rec.709 on a GH5.
Sorry! I thought you were replying to me.
There's also Ben Turley's LutCalc which is an incredibly powerful lut generator.
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2 hours ago, Towd said:
Your starting place is a bit off I think compared to Panasonic's LUT,
My lut is specifically designed to emulate the colour offered by Magic Lantern RAW, debayered by ACR, with the Cinelog DCP profile applied. The Panasonic lut is not.
- tweak and Hanriverprod
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In Lumetri, try my lut in the basic tab and an arri lut in the creative tab.
In my original video each shot has a slightly different treatment, using my VLog to Ml lut followed by variants of a Magic Lantern to Ektar 100 lut I posted earlier:
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Those tiffs are exported directly from the VLog files. The lut I posted only makes small changes to hue and saturation. You have to add contrast and adjust saturation after the lut is applied. Or try some Arri luts on top of my lut.
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I white balanced from the colorchecker passport WB target in direct sun at noon. It's almost identical to the daylight preset.
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7 hours ago, webrunner5 said:I like the second set on all of them better. If that is the GH5
Yes, the GH5 is second.
15 hours ago, squig said:I can stretch the DNGs a lot more and get more latitude from them.
For sure, the 5D files have much more malleability than 10bit VLog. You can really go to town on Magic Lantern RAW - it's a much thicker file. It's almost pristine (except for ugly shadow noise).
5 hours ago, mercer said:my original point is this... the author disliking Panasonic color and having to create a workaround to make it look like Canon color is more a testament to his abilities than it is a plus for the GH5.
But I think that it is actually a testament to the GH5 that I can do that. And what I've presented here is only the realisation of my preferences. The point that I want to make is that the 10bit 422 files are robust enough to undergo a fair bit of colour correction / grading. To me, the VLog coming from the camera is a "raw" material with massive potential, as the (properly) RAW footage from the 5D3 is a beginning, and not an end in itself. In the main GH5 thread you mentioned that there was a range of quality in the posted videos for the GH5, from video-ish to something more satisfactory. Believe me, if Magic Lantern RAW was accessible to the same kinds of users - and in the same numbers - as the GH5, you'd see a hell of a lot of bad 5D3 ML videos.
6 hours ago, deezid said:already created some presets and luts, so Panasonic's color science is no big issue anymore
Exactly. You need 12 nodes or 20 minutes work to match this with that. But when the groundwork is done, you're in business. Today I made a nice lut that combines the Canon-like colour with a Lightroom film emulation preset. I loaded this into the camera as a monitoring lut and exposed until it looked good in the viewfinder. Came back and slapped the lut on and each shot was perfect. It took as long as it does to Ctrl+C and Ctrl+V.... with maybe a small WB and curves adjustment beforehand
This is the look that I'm into at the moment. In a year's time I might be into something different.
3 hours ago, j.f.r. said:Go and create the project you've always wanted, the camera is no longer an excuse /
Big time!- Don Kotlos, Ken Ross, austinchimp and 11 others
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1 hour ago, AaronChicago said:
Good to hear Aaron! It's real knife edge stuff trying to spread out hues that are compressed, and to compress hues that are spread out - especially with a low contrast, low saturation profile like VLog. Sometimes an additional correction is needed on top of the lut, nudging an individual hue one way or the other. But you're right. Reds from the GH5 are almost always quite orange.
One caveat with the lut is that sometimes reds will become quite oversaturated. This works well for getting nice skintones, but if you have bright red clothing or a traffic sign it can get overblown. Pulling back on the red saturation helps in this scenario.
- AaronChicago and Emanuel
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6 hours ago, Don Kotlos said:
Can you export it as a LUT and share it as well?
Here is the LUT for colour correction only - the V-Log gamma remains unchanged. This should be first in your post pipeline.
https://drive.google.com/open?id=0B1exEpCRAfgFcVdtSXhRdmJvalE
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I just used Resolve to build the correction. I used After Effects to do the grading and to export the VLog TIFFs (which are identical to the MOVs in a Rec709 workspace).
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27 minutes ago, deezid said:
Is this shot with -5/-5 sharpness and noise reduction?
Yes, on the GH5. 5D3 in my video has 0 luma NR and 20 colour NR in ACR and 0 sharpness.
12 minutes ago, Deadcode said:Everyone is waiting for the reveal to tell AFTER that: "5D has waaaay better colours" :P Awesome job hyalinejim! I hope some day you will get a Sony camera in your hands!
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Sharing settings are changed so downloads should work directly now.
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6 hours ago, bunk said:
Thanks, looking forward to it.
I made a new thread comparing 5D3 with GH5, including downloadable files:
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I've been using 5D3 Magic Lantern RAW for a few years now and it's my personal gold standard for image quality as I'm very familiar with it, can predict the results I'll get in various situations and have developed my own look that I like using in post. I do a lot of documentary and corporate stuff and wanted to do more handheld, so I got the GH5 for its IBIS, 10bit V-Log, 4K and general ease of use. Although the GH5's colour is an improvement on its predecessors, the 5D3 is nicer looking to me. So I wanted to see if I could tweak the GH5's VLog colour to be more similar to the colour I get from Magic Lantern Cinelog-C, processed via Adobe Camera Raw (other debayering workflows will give different results).
I shot a chart with both cameras, extracted the squares and put them side by side in Resolve. V-Log on the left, ML on the right:
I used Hue v Hue and Hue v Sat to line up the signal on the vectorscope:
Here you can see the effect of this correction.This is accurately white balanced V-Log (default colour) with a curve and saturation added:
And here's the same shot with the colour correction applied:
Skin goes from green-ish to pink-ish. Reds become more saturated, blues are pulled back. Foliage separates out into varying shades of yellow to green to blue-sh green, rather than being one big block of pure green. So next, I wanted to test this by comparing the same shots to Magic Lantern RAW. Would this correction really turn my GH5 into a handheld and more usable version of my 5D3?
I stuck the GH5 on top of the 5D3. I shot the 5D3 at 3520 x 1320 (the maximum resolution I can get that's both continuous and at a sensible aspect ratio) - this has a crop factor of 1.63x. ISO was 100, and aperture at f5.6 on the Canon 24-105. The GH5 was 10 bit V-Log, Cinema 4K, ISO 400, aperture f4 (roughly equivalent) on the Leica 12-60. I used shutter speed to control exposure, so motion blur is different between shots. It seems like the GH5 has around 0.66 stops more info in the highlights at the same exposure as the 5D, so I shot it one stop over to maximise DR.
First I corrected the 5D shots to the way I wanted them to look. Then I tried to get the GH5 to match. It's not a perfect match by any means, there are individual hues that tend to go awry a little, especially in the first shot. But for me the exercise is a success: the GH5 footage looks more like Canon Magic Lantern than it would straight out of the camera. And I would be happy to intercut the two, or to use the GH5 in situations that are more suited to its features. The take home message is that V-Log has a lot of grading potential - you're not necessarily stuck with Panasonic's colours on this camera.
A nice surprise for me was how much detail is in the 3.5K 5D files compared to Cinema 4K GH5, especially when sharpened. However, it's not very practical to shoot in its high resolution modes at the moment, due to the slow refresh rate of the LCD preview.
If you want to check out the files yourself, here are a series of matched pairs of 5D DNGs, and GH5 V-Log TIFFS.
FOLDER:
https://drive.google.com/open?id=0B1exEpCRAfgFdi1FZ3hma09YZmsALL FILES ZIPPED:
https://drive.google.com/open?id=0BwzsbjMgrAwzTFJZby0xSTV6VmM- majoraxis, Don Kotlos, tweak and 22 others
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If only there was a second vertical guide!!!
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The detail is pretty good in the 5D3, huh? I wasn't expecting it to hold up so well against the GH5's Cinema4K res although I can't really see myself shooting in 2.67:1 on the 5D just to eke out the last few pixels of resolution.
For me the biggest giveaway between the two is the difference in lens contrast and flaring, rather than the usual concerns with resolution, dynamic range or colour. (Although, the GH5 has more usable dynamic range - at the same exposure there seems to me to be 0.66 stops more info in the highlights and 0.66 in the shadows.) And of course the preview on the GH5 is real time!
- ade towell, Hanriverprod and SigurdW
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On 26/4/2017 at 4:42 PM, howard said:
I wish there was a GH5 vs Mark 3 ML raw 14bit comparison somewhere.
I took some quick shots today with a GH5 and 5D and hope to upload RAW DNGs and VLog TIFFs for comparison. For now here's a teaser:
GH5: f5.6 - 1/800s - ISO400 - C4K - VLog - 10bit - ETTR - no noise reduction - no sharpening
5D: f5.6 - 1/400s - ISO100 - 3520 x 1320 - 12 bit lossless - ETTR - upscaled to 4096 x 1540 - no noise reduction - no sharpening
But which is which?
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Yes! It's one of the reasons I don't really like Lumetri although I know that many people love it.
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Try this with the Luma corrector effect to recover info that's outside of range - raise pedestal and lower gain.
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12 minutes ago, Petter Magnusson said:
In 10bit mode the info is really lost for me using Cinelike D.
QuoteThis is probably how Premiere is interpreting the file - there is info above 100 and below 0 IRE. Use curves to pull it back.
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Improving GH5 colour - comparison with 5D3 RAW
In: Cameras
Posted
No, but if you own the VSCO film 04 pack you can try to convert the Provia 400x for Canon profile to a lut. Then add it after my GH5 to ML lut, add curves and saturation and you should get a very similar look.
You can convert ACR or Lightroom presets to luts by using the awesome IWLTBAP lut generator. Open a HALD in ACR or LR, apply a preset. Convert to PNG and bring in to IWLTBAP.