Zak Forsman

I used one of James Miller's new V-Log LUTs (AA20) for a moody look. This was shot at ISO 1600 because I wanted to see how bad it would look, given all the complaints about noise. To my surprise, this LUT does a fine job of suppressing it. It's a darker grade but there is more going on than that. A pass of the same clips with the Varicam V709 LUT follows for comparison. That's also the LUT I had loaded into the Odyssey 7Q+ while I was shooting. 
GH4 + Helios 44 + Metabones Speed Booster + ISO 1600 + V-Log L (-5, -5) + Captured in 10bit ProRes HQ + LUT AA20 by James Miller
GRADED
 
V709
 
So while Vimeo compression has hidden half the noise, I gotta say I'm kinda okay with how the noise looks. It gets pretty disgusting when you move NR above -5, in my opinion. But leaving NR all the way down let's the noise be fine and detailed, which I prefer to murky and glompy. I rarely shoot above ISO 800 but given the right context, the right kind of movie, I think it works.

I used one of James Miller's new V-Log LUTs (AA20) for a moody look. This was shot at ISO 1600 because I wanted to see how bad it would look, given all the complaints about noise. To my surprise, this LUT does a fine job of suppressing it. It's a darker grade but there is more going on than that. A pass of the same clips with the Varicam V709 LUT follows for comparison. That's also the LUT I had loaded into the Odyssey 7Q+ while I was shooting. 
GH4 + Helios 44 + Metabones Speed Booster + ISO 1600 + V-Log L (-5, -5) + Captured in 10bit ProRes HQ + LUT AA20 by James Miller
GRADED
 
V709
 
So while Vimeo compression has hidden half the noise, I gotta say I'm kinda okay with how the noise looks. It gets pretty disgusting when you move NR above -5, in my opinion. But leaving NR all the way down let's the noise be fine and detailed, which I prefer to murky and glompy. I rarely shoot above ISO 800 but given the right context, the right kind of movie, I think it works.

VLog L converted with Cineon LOG to Linear LUT. A mixture of 4K 24p and HD 96fps.
Things I'm loving about VLogL: Dynamic Range, and Color
Things that aren't so great: Banding, and noise.
I'm hoping that using an external recorder at 10 bit 4:2:2 will help with the latter.

this looks great!!

Wow so many comments and posts about how to do it after a night's sleep. I feel like I released the monster out of the cage.. But see, my hint is much more useful than Apples hint for the 6S, isn't it? 

Or you can just grade in DaVinci Resolve.

I've heard people touting that on the forum like it's an established fact, but no one's ever given me a single example that demonstrates that 4:2:2 is more important than 10-bit. My eyes, the articles I've read, and the math, on the other hand, tell me that 10-bit is a way bigger quality difference.

It's a shame we don;t see Redstan around here much any more.  Definitely a champion

because the sky is purple in the version processed by their app.

v2.3 of the firmware is up.
http://av.jpn.support.panasonic.com/support/global/cs/dsc/download/fts/index2.html
got a little excited when I saw the V709 LUT labelled as "for GH4" but after unzipping it, it seems to be the same one we have for the Varicam. and I don't see any other features added other than what's needed to activate V-Log L, other than being able to pause a time-lapse recording.

v2.3 of the firmware is up.
http://av.jpn.support.panasonic.com/support/global/cs/dsc/download/fts/index2.html
got a little excited when I saw the V709 LUT labelled as "for GH4" but after unzipping it, it seems to be the same one we have for the Varicam. and I don't see any other features added other than what's needed to activate V-Log L, other than being able to pause a time-lapse recording.

Who would be at IBC? Email support@slrmagic.com and ask for me if you have time to meet up for a chat! I will be there on the 11th and 12th.
-Andrew

I was wrong. The 35mm 2x and 1.33x lenses are $2500 and the 50mm and 70mm lenses are $3000 each.
2x Technical Data:
SLR Magic ANAMORPHOT-CINE 35mm T2.4
SLR Magic ANAMORPHOT-CINE 50mm T2.8
SLR Magic ANAMORPHOT-CINE 70mm T4
Lens Type: Anamorphic lens
Squeeze factor: 2x
Camera mode: 4:3 Anamorphic
Objective front filter thread: Φ82
Mount: micro four thirds
Lens Coating: Multi Coated
Close Focus: 3’6
Weight (oz./g): 47.9/1,360
Length (cm): 19.25
Diameter (cm): 10 
Suggested aperture setting: T4-5.6
Image Circle: mFT for 35mm T2.4, S35 for 50mm T2.8 and 70mm T4
 
MSRP : $2,499 for SLR Magic ANAMORPHOT-CINE 35mm T2.4
             $2,999 for SLR Magic ANAMORPHOT-CINE 50mm T2.8
             $2,999 for SLR Magic ANAMORPHOT-CINE 70mm T4
 
 
 
1.33x Technical Data:
SLR Magic ANAMORPHOT-CINE 35mm T2.4
SLR Magic ANAMORPHOT-CINE 50mm T2.8
SLR Magic ANAMORPHOT-CINE 70mm T4
Lens Type: Anamorphic lens
Squeeze factor: 1.33x
Objective front filter thread: Φ82
Mount: Aluminium PL or Titanium PL compatible with optional EF adapter
Lens Coating: Multi Coated
Close Focus: 3’6
Weight (oz./g): 38.8/1,100
Length (cm): 13.5
Diameter (cm): 10 
Optional accessories: PL to EF adapter
Suggested aperture setting: T4-5.6
Image Circle: S35 for 35mm T2.4, FF for 50mm T2.8 and 70mm T4
 
MSRP : $2,499 for SLR Magic ANAMORPHOT-CINE 35mm T2.4
             $2,999 for SLR Magic ANAMORPHOT-CINE 50mm T2.8
             $2,999 for SLR Magic ANAMORPHOT-CINE 70mm T4

I suppose color is relative, and I wish I could love Canon color the way others seem to, but I've just gotten frustrated with its problem with red. From Art Adams:
"A while back I tried to match a Canon C300 to an Alexa. I got close, but only because Alexa is generally the most color accurate camera I’ve worked with and matching any camera to it usually results in accurate color. The exception to this is red. Under tungsten light my new C300 settings looked pretty good, but under daylight the slightest hint of red in flesh tone skewed the toward magenta. This is a really ugly look for a face, so I discontinued use of those settings. (I did get a number of emails from satisfied customers, though.)
Canon's reds are generally skewed a bit toward yellow. My theory is that skin imperfections that are normally red melt away when their color is shifted toward yellow, making them appear less red and more like flesh tone. Any attempt to "fix" this on the part of the user causes an overcorrection that pushes red toward blue, making imperfections stand out even more."

I don't want to sit here like "sorry my eyes are so much better than yours," but...I like bold colors in my work, and orangey reds just don't play well to that. 

This shift in Canon's reds also smooshes (technical term) some shades of red/orange/pink into each other a bit, losing accuracy in that area of the vectorscope. For comparison, check out the Panasonic video at 1:51--the almost burgundy red on the left and all the tiny variations in the brighter red on the right. Look at 2:07, where each of those pinkish, purplish, and reddish folders are all distinctly different colors, and different again from the gentler reds on the wallpaper. That kind of subtle hue discrimination has been the trademark of Panasonic's pro-division cameras since the Varicam, and it gives the image a level of subtlety and realism that I've never seen from a hybrid camera until now. 

To me, there's no comparison. But YMMV. 

everyone take note, this will be on my wishlist for xmas. thanks in advance!  

Just noticed that B&H Photo now only let's you pre-order V-Log L and estimates availability on October 7th. I assume that means their initial inventory is already spoken for. Just checked my direct order with Panasonic and it still says mid-september for the estimated delivery. So hopefully we'll start to get it as early as a week from now.

Assuming you haven't seen this.. it looks like cameramanben has done something really useful here: he's compiled a ton of research and written a JavaScript LUT calculator tool released under a GNU freesoftware license (I think this is about as free as it gets). This could be used for 1D shaper LUT's, or 3D LUT's with gamma/gamut baked together - if that's more your thing - and even custom code value ranges. I think you can upload a sample image too. I see an A7s profile as well as Rec2020 gamut, DCI-P3 gamut... it's on github.
Online tool: http://cameramanben.github.io/LUTCalc/LUTCalc/index.html
Link to browser based apps: https://cameramanben.github.io/LUTCalc/
Objective-C wrapper for MacOS: https://github.com/cameramanben/LUTCalc-For-Mac 
He needs a donation button somewhere. 
 

I can't wait for more people to get their hands on this. We've been living vicariously through The Camera Store TV videos for too long.

Just noticed that B&H Photo now only let's you pre-order V-Log L and estimates availability on October 7th. I assume that means their initial inventory is already spoken for. Just checked my direct order with Panasonic and it still says mid-september for the estimated delivery. So hopefully we'll start to get it as early as a week from now.

Wow...some challenging conditions there, and the camera handles it beautifully. That DR, those colors (especially the reds and skin tones)...I'm amazed. It's like a completely different camera. The 8-bit is very good, but 10-bit V-LOG is a whole new league of image quality. 

*drools*

True. 
I'm shooting on the F55 tomorrow. Lucky menu day!!
So the recent rumours suggest it has the "A7S" sensor... so the groundbreaking part is a camcorder with high sensitivity? I'm guessing they would exclude 4k 60p and have the highest frame rates at 100p in HD. 
It would also be interesting if it was 10 bit. There has been talk on this forum lately saying there is hardly any difference with 10bit vs 8bit. From what I've seen from my recent tests on the FS7 codecs - there is a MASSIVE difference. 8bit codec highlights in some shots had banding galore, heavy macro blocking and a mess of colour information - whereas the 10bit codec was clean and could be pushed around much, much more. 
My judgement of the A7S' low light ability is that it comes with very serious issues if used for professional work - mostly due to the sick cocktail of colour and the awful amount of noise, plus loss of resolution. The sensor in a more powerful, video-centric body might improve on this. We'll see eh! 

It's more than double the cost of the Blackmagic Video Assist, but this is smallest, cheapest 4K recorder I'm aware of. Video Devices PIX-E5H. 5" screen. $1200.
http://www.bhphotovideo.com/c/product/1137222-REG/video_devices_pix_e5h_5_4k_recording.html

Here is The Rectilux 3FF-W with a 25mm from SLR Magic at T/2.8 on a GH4. I'm prepping for another feature in the next couple months and wanted to start making direct comparisons between the Kowa Bell & Howell and the Schneider ES Cinelux. First, I wanted to see CUs of an actor as well as some focus pulls. 
 
 
 
 

Here's a three-way comparison of Art Adam's AA709A, Alexa LogC to 709, Amira LogC to 709.
http://imgur.com/a/Y8Mvq#0

I downloaded and brought Nick Driftwood's 10 bit V-Log L samples into Davinci and applied the Panasonic VLog_to_V709_forV35_ver100 LUT, and also the Arri Alexa LogC to Rec709 LUT. Created this album on imgur to make comparing them easier.
http://imgur.com/a/FGcTr#0
My intent was to start looking into what LUT I will want to load into my monitor during production. Ultimately it will be a custom LUT but one of these will serve as the basis.