austinchimp

Yeah, those Rec709 grades with like 7 or 8 stops of dynamic range look so rich and vibrant. Film print style. Even 35mm film shot right now has a lot less punch than it used to. 
I always though the baked in profiles on the C300 Mkii or maybe the 1DC or 1DX look really really nice. Yes, you have to be more intentional with your exposing but the results are really nice.
Not all log footage is the same though. Flat film scans are incredibly easy to grade. You don't need any LUTs, just a standard correction will look really good and natural. 

Yeah I'm really conflicted about log profiles on consumer cameras. I honestly don't like the way most footage is graded these days, and the popular style of 'cinematic grading' which to me usually looks flat and weird when done by amateurs. The worst casualty has been skin tones, with rich vibrant alive tones replaced by green grey yellow orange stylised skin in 90% of videos on Youtube. 
Whether that's to do with Sony sensors or just Log profiles is a difficult question. I do know however that I have rarely seen skin tones out of any Sony camera below the FX9 that I've liked.
One of the things I'm struck by when I watch old movies shot on film - from the 70s through to the 90s - is how natural and beautiful everything looks, before every shadow had to be dark blue and every skin tone had to be sunburnt orange or desaturated grey.

Yeah I'm really conflicted about log profiles on consumer cameras. I honestly don't like the way most footage is graded these days, and the popular style of 'cinematic grading' which to me usually looks flat and weird when done by amateurs. The worst casualty has been skin tones, with rich vibrant alive tones replaced by green grey yellow orange stylised skin in 90% of videos on Youtube. 
Whether that's to do with Sony sensors or just Log profiles is a difficult question. I do know however that I have rarely seen skin tones out of any Sony camera below the FX9 that I've liked.
One of the things I'm struck by when I watch old movies shot on film - from the 70s through to the 90s - is how natural and beautiful everything looks, before every shadow had to be dark blue and every skin tone had to be sunburnt orange or desaturated grey.

Yeah I'm really conflicted about log profiles on consumer cameras. I honestly don't like the way most footage is graded these days, and the popular style of 'cinematic grading' which to me usually looks flat and weird when done by amateurs. The worst casualty has been skin tones, with rich vibrant alive tones replaced by green grey yellow orange stylised skin in 90% of videos on Youtube. 
Whether that's to do with Sony sensors or just Log profiles is a difficult question. I do know however that I have rarely seen skin tones out of any Sony camera below the FX9 that I've liked.
One of the things I'm struck by when I watch old movies shot on film - from the 70s through to the 90s - is how natural and beautiful everything looks, before every shadow had to be dark blue and every skin tone had to be sunburnt orange or desaturated grey.

Nah, it's pretty bad. Do a search for even Canon C70 footage. Nothing you can find will look this good. There's tons of flat looking footage, but almost nothing with a standard balanced REC709 grade. The C300 Mkii looked good to me as well. One of the easiest cameras to get beautiful skin tone out of.

Wow Panasonic really nailed colour back then. When I look at this and the colour from the 5Dmkii I have to wonder what the hell happened since then? Maybe my negative perception of colour in consumer cams 2014-2020ish mostly comes from Sony dominance and the pandora's box of giving S-Log to the masses.

Wow Panasonic really nailed colour back then. When I look at this and the colour from the 5Dmkii I have to wonder what the hell happened since then? Maybe my negative perception of colour in consumer cams 2014-2020ish mostly comes from Sony dominance and the pandora's box of giving S-Log to the masses.

If it's worth saying, it's worth repeating, right?
also, if it's worth saying it's definitely worth repeating.  
I completely agree.
To put things into perspective, here's a video from the GH1 that I saw shared recently.  To my eyes, it look better than almost everything I see posted in the last couple of years.
1080p camera, 1080p upload, from a camera that is so old it doesn't change hands much anymore, but when it does it can be had for about $100.

Not sure if it's placebo or something in the compression used by consumer cameras these days but I definitely perceive a certain flatness and lack of colour density in many hybrid cameras and camcorders these days, and the common factor in most of them is Sony sensors. Out of all the consumer brands, Canon seems to stand out as being an exception in that regard. They seem to be capable of producing more rich tones straight out of the camera.
I was also never that into the colour from the BMPCC4k with it's Sony sensor, compared to the Ursa image.
It's been said many times on this forum, but I do wish manufacturers would focus less on 8k and more on getting colour right, after all Arri has been showing how to do it right for a decade now!

I agree.  
If I could rewire my GH5 sensor so that every second pixel went to a different gain ADC circuit and the two signals were then combined to increase the DR coming off the sensor (how the Alexa works) then I wouldn't even think twice about it.  Even if it meant sacrificing 75% or more of the pixels I have.  
A gorgeous image is a gorgeous image in whatever resolution.  We've been working on the wrong things. 

Not sure if it's placebo or something in the compression used by consumer cameras these days but I definitely perceive a certain flatness and lack of colour density in many hybrid cameras and camcorders these days, and the common factor in most of them is Sony sensors. Out of all the consumer brands, Canon seems to stand out as being an exception in that regard. They seem to be capable of producing more rich tones straight out of the camera.
I was also never that into the colour from the BMPCC4k with it's Sony sensor, compared to the Ursa image.
It's been said many times on this forum, but I do wish manufacturers would focus less on 8k and more on getting colour right, after all Arri has been showing how to do it right for a decade now!

Ugh, the X-T3 and 4 have a nasty artificial and plastic looking image with strong temporal filtering on top of the excessive sharpening which gets thrown on the footage even when it's set to -4. Even the A7s3 performs better in that regard.
Really no comparison to the S1H with NR set to -1.

A lot of assumptions about me in this I don't like. But let's focus on the facts.
If we rewind to 2005, you are probably not with a strong opinion on the EU. Probably getting on with your life just fine. Country seems to be doing well. Certainly better than the state of it today after 10 years of the Tories. I am from a 'red' Labour area. Manchester. Tony Blair did a decent job of running all of the country not just London, and Manchester was booming, pretty much. This is after a full 30 years of EU membership and a so-called political union... it is actually far more of an economic one than what the Express would have you believe about Merkel bossing us around.
Post-Brexit, how is your life better. And what will you personally gain from it. Answers on a postcard please...
Here is what was in it for me... To be clear - nothing. Under EU membership as a Brit I spent 8 years living in Berlin visa free, with travel around Europe as easily as getting train to London from Manchester. I had a life in Berlin, very valuable to me. Now I have a 90-day max stay and have to pay as much as 40% import duties and VAT on anything I buy from Amazon or a UK website when in Berlin. Camera deals, eBay, that kind of thing, is now ruined. Meanwhile the German post has stopped sending to the UK altogether, whilst they decide how to restructure the cost of postage. It used to be that anything I couldn't bring back to the UK in my luggage would be put in a box and go back that way. Not any more. It will likely now get hefty charges stamped on it and there will be tons of paperwork to fill out.
Now, imagine if you are running a UK or Europe based business. The European based side can't serve customers in the UK at all at the moment... can't use the post. The UK side now has a 600 page document to familiarise itself with, and staff cannot avoid duties and VAT when sending to their biggest neighbours and trading partners. It's shit. In terms of bureaucracy the EU actually cut down on paperwork, especially in terms of the movement of goods and people.
Meanwhile people now require a visa of course to work in a different EU country if they are British, which means the younger generation won't have the same freedom as I did, creatively, as a filmmaker, to escape the high rents of Manchester and London, or to explore new places and meet new people. It's a disaster for them. Getting a visa is expensive and requires health cover, which is also expensive. Hundreds of quid a month expensive. Before, it was free and on the NHS for emergency care throughout the EU, be it in Manchester, Barcelona or Berlin.
The EU gave us free roaming, 100GB per month with EE for £20 to use throughout Europe, they spurred the private sector on to abolish some of their highest charges. It saved me a fortune in Berlin. The EU gave online streaming one market for DRM, so that Amazon UK could stream the British content in Europe, for when you are on holiday or living here. The cross border portability of content like movies and TV shows has now ended.
Moreover, I can't find a single benefit of Brexit for me... Not a single thing. It's all more expensive, more hassle, less freedom, depressing shit.
The irony of you saying the 'democratic' Referendum crushes the idea that the newspapers (like the Express, Daily Mail and tabloids) and powerful vested interests get to decide the results... When actually the outcome was the direct result of the newspapers banging on about refugees and EU bureaucracy for years on end, and the powerful vested interests of people like Farage or Johnson... mostly vested in themselves, as opportunistic scumbags. When you say that MPs get to decide election results, you ignore the fact they are the elected representatives of the people. However for this to work, democratic society has to be well informed. Over the EU, they were not. Simple as that. And if MPs and government had no power to plot the course of the nation, what's the point of voting for them in the first place? All this anti-parliament BS that came up during the debates on Brexit and the court cases, with the press attacking the judiciary, was a scandal. Very few so-called working class British people voted for Brexit knowing in factual terms exactly what was in it for them. They just got wound up emotionally. Like I said before, rewind to 2005 or even 2010 and nobody down my local pub in Manchester is talking about how much their daily lives are hindered by fishing quotas and tariffs on Japanese imports, and how they can't wait to leave the EU to negotiate their own. Let alone, "we can't wait to leave in order to get all those specific advantages including X, Y, and Z".
The very fact you haven't listed any specific advantages for your own life, livelihood, town or village of Brexit tells me a lot...
How about putting to one side the 'taking back control' and the slogans for a moment and listing the explicit benefits you have personally felt since 1st January 2021.
The first corona vaccine is German by the way.

I feel like there is a crowd for these videos here. Apologies for the shameless self promotion though.

I'm here if you need to talk.
 
 

I highly recommend the GHAlex LUT. Its a bit pricey but it feels like a different camera after using that LUT. Panasonic color is a bit trash but so is pretty much every other company besides Arri and maybe Canon lol. 

The Panasonic S1 is hard to beat for the price especially a used one. 

This is one of my biggest mistakes of the production to be completely honest.
I shot most of the scenes with Canon FD 28mm f/2.8, 50mm f/1.4 and 35-105 f/3.5. Beautiful glass, but you need to stop down a stop or two to get it really sharp. I lit all the scenes with LED Fresnel lights and panel lights, but sometimes that wasn't enough unless the lenses were wide open, so some shots are way too soft for my liking, like the black guy with the white guy in the car scene. I was away from power, so couldn't use my A.C. powered lights. 😥
When I rented the GH5 for some scenes, I also rented the Sigma 18-35 f/1.8 and Speedbooster. This is the lens that is shooting the scene with the guy and girl in the bar (shout out to my fine ass wife 💞).
In other scenes, I even used the Panasonic 42.5mm, 25mm and 20mm f/1.7 primes. That was just stupid of me. I even used the 14-45mm 3.5-5.6 in a scene because I needed a much wider shot indoors. The guy looking out the window at night was shot with this.
The one other thing I wish I had was an electronic gimbal. I had a vest with spring arm and mechanical stabilizer, but I really wasn't good at it at all. It would have been better for me to go into more debt to add better motion shots, as many were killed and just shot on sticks.
I went with the GH4 and GH5 because it was the camera I had. I made certain to always shoot out to a Ninja 2 and at the time I was using DNxHD as a codec. All in all, I'm very pleased with the quality.
You may be surprised, but low light shooting wasn't really an issue! Every single scene was lit, so I didn't go over ISO-1600 for any shot. This is why I really can't understand cameras like the A7S line (even though I eventually bought the GH5S myself) when it comes to filmmaking. For docu work, yeah, that's a perfect camera, for weddings it makes life super easy. But when you are trying to sculpt a look with light placement, when shooting a film in available light, you relinquish all control of the visual medium. Now you could use negative fills to great effect (never seen it done once on an indie set) or fly large diffusion panels and scrims, but what indie production can afford to do that?
The biggest  problem for this project is, well,  life.
Everyone in the film has jobs, businesses and careers. Getting the moons to align was quite the difficult task. Many a time it was a shoot day, and someone had to be at work early the next morning and couldn't make it. At that point, I just needed bodies for grip just to not loose another day. I even hired my handyman that does home repairs for me to do grip work!
Almost all shooting was done exclusively at night by design, but that worked out in my favor.
The budget went to craft services, location rentals and gear. I also paid a talent agency to wrangle extras for me for two scenes. At least these people had an interest in the business, as you really can't have just any Joe or Jane do this because more often than not, they will fuck up your shot by looking into your camera or talking when they aren't supposed to, etc.
I hope this helps!

Yeah I think the skintone is much better with the S1a lut. It's from a hike near Benidorm in Spain.

I purchased the S1 set, and I see what you mean about the colour deviation between the GHa and S1a Luts. I was quite happy with GHa on my S1 footage, but the S1 High Scale Lut looks more vibrant and cleaner to me compared to the GHa Linear conversion. Better colour separation and fidelity. 
Thanks for your hard work, this is a really valuable tool and a pleasure to use!
Footage is 1080p 10 bit from the S1, basic corrections with the luts applied on top, ungraded. Top is S1a, bottom is GHa.

I purchased the S1 set, and I see what you mean about the colour deviation between the GHa and S1a Luts. I was quite happy with GHa on my S1 footage, but the S1 High Scale Lut looks more vibrant and cleaner to me compared to the GHa Linear conversion. Better colour separation and fidelity. 
Thanks for your hard work, this is a really valuable tool and a pleasure to use!
Footage is 1080p 10 bit from the S1, basic corrections with the luts applied on top, ungraded. Top is S1a, bottom is GHa.

From a music video shoot today. 

Voigtlander 21mm 1.4


Panasonic 24-105 F4

@Sage Is there a discount for Emotive Color packages if you've previously bought the LUTs for another camera? I got the GH5 set and am considering the S1 set.

@Sage Is there a discount for Emotive Color packages if you've previously bought the LUTs for another camera? I got the GH5 set and am considering the S1 set.

@Emanuel I had heard that it was to use the GH5S sensor. If so, there is a reasonable chance that the color will be the same. If not, then it could be measured. I didn't know about the Osmo, but it is something that could be explored. There were some cool experiments I wanted to mess around with, so a deep dive may be warranted there next.
@HockeyFan12 Very cool, I haven't read that one yet. I did notice S1 moire on saturated fabrics, and in that moment felt the value of the S1H. Here are the S1 fabrics compared to the Alexa:
S1

Alexa