deezid

I usually use Blur (0.53) as a node and change the gain to like 0.3.
Will try your solution as well. 

On a sidenode. Just tried out the Sony A7 III earlier. At -7 there is absolutely no sharpening. Wondering why Panasonic forces it on us?

One better - you actually only need the base clip in Resolve (no second Opacity layer needed)
Just set Gaussian Blur 'Blend' to 0.640, and the Strength at 0.170, as before. Also - Border Type to 'Replicate' for good housekeeping.

*Note: these settings are for working in a 2K timeline (I shoot 2K All-I, and the Alexa C is 2K), they may change per NLE when at 4K (Also 0.160 might be preferable for detail resolving)

Will be joining the YouTube party at some point.

Hey austinchimp, how do you like V2?
By the way, I want to recommend to all Premiere users to avoid the Lumetri Luma curve. Instead use the Shadows/Midtones/Highlights sliders of the Color wheels section, or Obsolete RGB Curves. This was added to the PDF for V2. One of the elements of the project is to identify anything which will compromise the color pipeline, to ensure everyone is getting the best image, despite NLE.
When I was coding the color engine, I implemented a 'common sense' algorithm to alter luma. It turned out, I had a lot to learn. The common sense algorithm was distorting the color space, and I was distraught for two weeks trying to figure out where I went wrong. It nearly destroyed me. I figured it out; that color and luma are intrinsically interlinked. A month later, in Premiere's Lumetri luma curve I recognized the same common sense algorithm. They didn't catch and fix it. The Color Wheel section's sliders are much better in this regard:
Luma Curve

 
Shadows/Midtones/Highlights Sliders

- No color modification
 

Please, share your results! I always enjoy that
Try Cine-D (with the noted settings) - I made that PRE conversion (and tested all the settings) just for that purpose
That being said, with V2 I'm definitely a VLog guy. For accuracy and smoothness, nothing beats the directness of that conversion (even counting 8-bit concerns), and its something I might look into at some point for Cine-D

I have really enjoyed work from Hiro Murai.
 

Great work man!
Can't wait to try out the Cine D conversion. Was avoiding 60p for many reasons until now (1080p60 10 bit is oversharpened, UHD60p 8 bit in V-Log is almost as messy as GH4 8 Bit V-log was...)

Hey dxotic, you should have an email from me
Exposure placement for Day V2 is quite different; this is how I described it to David L'Abbée:
"Before, clean range was being rolled off into the noise floor with Daylight; this wasn't very smart. Now, range is allotted to the highlights, which allows more meaningful DR when exposed for V2. For V1 footage, you can place the luma per page 8, and slightly increase saturation to compensate"
Hehe, because I'm crazy! I got it to make this conversion perfect, because that was a much better proposition than trying to measure it on borrowed time (which is basically what limited the fidelity of V1). I did upwards of twenty measurement redo's for V2, all told. tweaking the approach along the way. This was critical, as the first V2 run through was really far off of what was needed for the code to ingest
Also, it is the most unwieldy thing. Its got minimal kit needed to run (no battery, Frankenstein hdmi monitor, etc.); its a heavy computer with wires, in 2k. The GH5 with IBIS allows me to shoot in my particular style, which is all about motion
Also, per my promise to you a few months ago, here are the raw side-by-sides:
Daylight Alexa & GH5 Raw Footage
Tungsten Alexa & GH5 Raw Footage
(Use DaVinci Resolve for these - accurate Arri ProRes)

Great work man!
Can't wait to try out the Cine D conversion. Was avoiding 60p for many reasons until now (1080p60 10 bit is oversharpened, UHD60p 8 bit in V-Log is almost as messy as GH4 8 Bit V-log was...)

"I am pleased to announce GHa V2, the reference grade update. For the last six months (since original release), I have been building a new version of the conversion from the ground up, to achieve a new standard of precision and smoothness (silk gradients).
The changes in V2:
- 25x the Number of Color Samples (25k Per Camera)
- Custom Coded C++ Color Engine (Smooth Interpolation)
- Alexa On Hand (For Repeated Iteration)
- Corrected Lens Distortion of Original Conversion
- Smarter Handling of of Exposure Placement to Maximize DR (both Emotive Color and LogC)
- Cine-D Support (and Improved [PRE]s)
- Premiere Pro Specific [PRE]s (for VLog & Others)
- Improved Documentation"
Here is the new PDF
Emotion II (Updated to V2)
(Edge/Explorer or Safari recommended for most accurate color; Chrome/Opera Ok; Avoid Firefox)

Something imminent this way comes!
You can get the new PDF here
Edge/Explorer or Safari recommended for accurate color; Avoid Firefox!

True, unless you measure the effects of NR only using a black and white chart. ?‍♂️

True, unless you measure the effects of NR only using a black and white chart. ?‍♂️

"The sensor has about 11 megapixels according to the specification and is a Micro Four Thirds format (sensor size 17.3x13mm which means 4:3 aspect ratio). The specification says that only “10.28 Megapixels are active”, making the resolution about 3704×2778 if it’s 4:3. So the individual photo-sites must be about 4.7μm square, about the same as a conventional 3-sensor HDTV camera. Alan found that neither of these sets of dimensions was enough for 4096×2160 recording unless his assumptions are over-simplifications – which seems likely from the measurements above.
...
The camera achieves HD Tier 1 because of the sensor size, while smaller than the preferred 1” size, is greater than the minimum-acceptable 2⁄3” size. The wording of R.118 is not completely consistent on this because testing is required whatever the sensor size, but the camera passes the tests anyway.
... 
It is also important for users to know that they can obtain more dynamic range shooting in the HLG or CineLike-D picture profiles than V-LogL. In saying that, V-LogL and HLG have a lot more dynamic range in the stops allocated above middle grey than CineLike-D. The amount of stops isn’t as important as where they are located above or below middle grey. Just because Cinelike-D has more DR than V-LogL doesn’t mean it’s a better picture profile to shoot in."
 
 
The edifice of his research itself is wayyyyyyy off.
It is NOT a 4/3 ratio sensor, and this is NOT the aspect ratio for 10.23 MP.
They Are actually these:
3680 x 2760 (10.2 MP, 4:3),
3840 x 2560 (9.8 MP, 3:2),
4016 x 2256 (9.1 MP, 16:9),
2752 x 2752 (7.6 MP, 1:1),
2592 x 1944 (5.0 MP, 4:3),
2736 x 1824 (5.0 MP, 3:2),
2816 x 1584 (4.5 MP, 16:9),
1936 x 1936 (3.7 MP, 1:1),
1824 x 1368 (2.5 MP, 4:3),
1920 x 1280 (2.5 MP, 3:2),
1920 x 1080 (2.1 MP, 16:9),
1360 x 1360 (1.8 MP, 1:1),
3328 x 2496 (8.3 MP, 4:3),
3504 x 2336 (8.2 MP, 3:2),
3840 x 2160 (8.3 MP, 16:9),
2880 x 2880 (8.3 MP, 1:1)
 
I am guessing the GH5s could have about 1/5 stop more dynamic range than the GH5 for raw, and less than that for video.
Also, I doubt ANY camera can do 14.6 Stops in a 10-bit codec. I doubt even the highest grade ProRes 10-bit will reach 14.6 Stops. As a matter of fact, after this review, I am curious as to how many Stops of Dynamic Range the Alexas and REDs Achieve on their ProRes Codecs. 
Also, if this sensor were So Capable, Blackmagic would have advertised the 14.6 stops as the USP, above the Dual Native ISO.
Also he says Cinelike-D has more dynamic range than Vlog. How?
Take this review with a ping of salt. Or something stronger. 

The path recommended for utmost fidelity is:
VLog in Resolve
Those using HLG in Premiere (for example) will not be at a major loss - the difference from that optimal condition is slightly less rolloff accuracy and slightly less smooth. 
For 4k 60p Vlog in Resolve, no PRE will be needed (likewise 10 bit VLog, except ProRes). Subsequent paths in order of fidelity:
VLog (10bit) in Premiere
VLog (8bit) in Premiere
HLG in Resolve
*** in Resolve
HLG in Premiere
*** in Premiere
In Premiere, avoid the Luma curve of Lumetri. Rather use the lift/gamma/gain wheels, or RGB curves (in Obsolete)

@dxotic One neat thing that I geek out over, is that it is so smooth -
PREVIOUS

NEW

And the PREs are so much more accurate (8 bit/Premiere/photo styles) -
PREVIOUS

NEW

- 8 bit Premiere PRE at work

I will use these lenses in the BlackMagic Pocket 4K ... 

In my opinion with cameras that have baked-in sharpening & contrast, the sharpest, cleanest, most flare-resistant lenses, usually give the worst results.  

I'd love it if you can record for example 4k50p in ProRes HQ (or raw if you like) to the SD/Cfast and 1080p50 proxy through USBc. That would make editing super fast, as you could just plug the hard drive in and work with your proxies, while the bigger master files are copying to an archive at the same time. Then just relink when you need to do colour work or export.
If that's not possible, it could be worth buying the Atomos Star. I bet they're super cheap now. You could film the highest quality possible in cam, and then get 1080p proxys (up to 30p I believe) through the HDMI. Maybe not quite so convenient... 
Even better if you can send a LUT over HDMI, but not bake it into the internal recordings. I assume this would be possible for client monitoring and things like that, but have no basis for my assumption. 

Thanks for all the love so far. Really appreciate it. And sorry for the late replies.
 
Pre-Production took a few weeks. Uche Aguh wrote it basically while casting and searching for locations to shoot and adjusting the script to it at the same time! I worked on a shotlist, schedule and lighting/equipment.

Production took place nearby Atlanta in a small town called Palmetto. A very eary place tbh. We shot over a time-frame of 11 days. We had a crew of 6 people. Right now we are working on post-production. Some bts pictures can be found here: http://55media.net/portfolio/the-house-invictus/
pushed it up to 6400 in some situations.
I already added some grain. Sadly the internal NR on the GH5 is very strong and smudges lots of low contrast detail and YouTube does the rest... (Waiting for the Pocket 4K) 
Here is a link to a higher quality version on vimeo:
 

Thanks for all the love so far. Really appreciate it. And sorry for the late replies.
 
Pre-Production took a few weeks. Uche Aguh wrote it basically while casting and searching for locations to shoot and adjusting the script to it at the same time! I worked on a shotlist, schedule and lighting/equipment.

Production took place nearby Atlanta in a small town called Palmetto. A very eary place tbh. We shot over a time-frame of 11 days. We had a crew of 6 people. Right now we are working on post-production. Some bts pictures can be found here: http://55media.net/portfolio/the-house-invictus/
pushed it up to 6400 in some situations.
I already added some grain. Sadly the internal NR on the GH5 is very strong and smudges lots of low contrast detail and YouTube does the rest... (Waiting for the Pocket 4K) 
Here is a link to a higher quality version on vimeo:
 

Hey, finally done with the trailer to our debut feature film at 55Media shot almost entirely on the Panasonic GH5 (some shots on the GoPro6 and P4P) in just 12 days.
Our best work yet. Movie is still going through post-production.
Production company: 55Media
Director/Writer: Uche Aguh
Director of Photography: Dennis Schmitz (me)
Assistant Director: Ukairo U. Ukairo.

Starring: Jarius Drew Sowells, Kayode Akinyemi, Vincent Ramirez, Thiree Pinnock, Julian Horton, Obum Nwankwo and J Shawn Durham as 'Daddy G'

Editing done in Premiere.
Colorgrading done in Davinci Resolve.
Dealing with the usual quirks of this camera, but results are still great.

More information:
www.imdb.com/title/tt7928156
www.55media.net

Thanks for all the love so far. Really appreciate it. And sorry for the late replies.
 
Pre-Production took a few weeks. Uche Aguh wrote it basically while casting and searching for locations to shoot and adjusting the script to it at the same time! I worked on a shotlist, schedule and lighting/equipment.

Production took place nearby Atlanta in a small town called Palmetto. A very eary place tbh. We shot over a time-frame of 11 days. We had a crew of 6 people. Right now we are working on post-production. Some bts pictures can be found here: http://55media.net/portfolio/the-house-invictus/
pushed it up to 6400 in some situations.
I already added some grain. Sadly the internal NR on the GH5 is very strong and smudges lots of low contrast detail and YouTube does the rest... (Waiting for the Pocket 4K) 
Here is a link to a higher quality version on vimeo:
 

Hey, finally done with the trailer to our debut feature film at 55Media shot almost entirely on the Panasonic GH5 (some shots on the GoPro6 and P4P) in just 12 days.
Our best work yet. Movie is still going through post-production.
Production company: 55Media
Director/Writer: Uche Aguh
Director of Photography: Dennis Schmitz (me)
Assistant Director: Ukairo U. Ukairo.

Starring: Jarius Drew Sowells, Kayode Akinyemi, Vincent Ramirez, Thiree Pinnock, Julian Horton, Obum Nwankwo and J Shawn Durham as 'Daddy G'

Editing done in Premiere.
Colorgrading done in Davinci Resolve.
Dealing with the usual quirks of this camera, but results are still great.

More information:
www.imdb.com/title/tt7928156
www.55media.net

Try ARRI and it will blow you away then. :D

But indeed. Blackmagic color science is great. Put a curve after the REC709 over it and you're good.