zerocool22

If this was the print version, that would have been even more amazing. I must be really getting old as I prefer reading things written on paper. (allthough I find print obsolete and a waste of good resources) 

yeah I hope they could get them even smaller now with tech these days. Prores RAW doesnt do it for me, as Resolve doesnt support it and at this point I dont think they will implement it anymore.

If this was the print version, that would have been even more amazing. I must be really getting old as I prefer reading things written on paper. (allthough I find print obsolete and a waste of good resources) 

I got spoiled with BRAW the last years, now I got an S5 and I need to check whitebalance while shooting to perfection, while shooting braw when its sorta looking ok, I could always fix it in post. So WB is the main shooting benefit for me. On the editing side BRAW is really smooth on my machine vs H265 422. 

Then there is also some extra options like changing ISO in post, which I never use that much though. 

Yeah I dont like monitors as well for run and gun, because charging and swapping batteries is the worst. + the added weight +the bulkyness which doesnt let you throw your camera in your backpack and move on. Disconnect cables, batteries, rig it down, to rig it all back up again. Too much of a timewaster for me. doesnt make sense to shoot these small camera's when you have to rig them up. 

Good deal! thx for the link. Havent got a long lockdown evening yet though, I have not gotten 5 minutes of boredom since the corona outbreak. (I do have 2 busy kids, which might have a lot to do with it)

American Cinematographer (the magazine of the American Society of Cinematographers) has a great offer on at the moment - 1 year's subscription to the digital version, plus full access to their archive (which goes back to 1920!) for USD19.95. I just grabbed one - perfect for filling those long lockdown evenings, I'd say.
https://store.ascmag.com/collections/subscriptions/products/american-cinematographer-digital-subscription-1-year

Sick video!

Video for the skateboard is out, this one is mixture of C70 and R5 footage.
 
 

1,000/day relocating to Florida tells me that many are not embarrassed by Florida. 
I am saddened for the mental and emotional destructiveness the paranoia has caused. To me that's worse than the cause. Personally I would rather die free than survive as a slave. That's just me. I know many would disagree. 
Cheers. 

I wonder it what possible universe being asked to reduce social contact and to take simple precautions like wearing a mask in enclosed spaces, during a pandemic that has so far killed half a million Americans (and many more the world over) can be characterised as 'slavery'. I mean, it's not like there's any shortage of examples of *actual* slavery available to see in the historical record of the good ol' USA.

It'd still be like 2 stops shy of the Alexa if the Alexa is having a bad day. Blackmagic do great stuff, but it's not like it's a Jesus camera. It's a fairly standard sensor in a box with some decent codecs. Everyone selling Pocket to Alexa luts are snake oil salesmen who prey on this kind of wishful thinking.

They have fixed a lot of problems of the pocket with this one. Allthough I wish it had the following
- Full frame sensor
- IBIS
- Screen that can turn sideways as well, so you can vlog with it(I wont use it for vlogging but I do find it nice for light setups where I use myself as the test subject to see/adjust lights on the fly.)
- CAF for the exact reason above (selfie vlog), Its hard to judge stuff in post when your focus is a bit off, and its hard to focus on yourself without an external screen.
 
 

yeah this is it, I threw on my panasonic 85mm 1.8 and it sorta works (slowly). So this kinda sucks.
Is the same problem present when using EF lenses on A7S III or R5?

Yeah wondering that as well, this would eat the A7S iii for lunch I guess, the price is even similar... So there must be a catch, as Sony will not cannabalise the A7S III.

I was thinking of a constant correction that you could just apply to all clips and forget about it.
For my GH5 I use a lut I made that mimics Portra 400 film. It works fine on the S1 too as long as the input is V-Log V-gamut in a Rec709 colour space. It's quite contrasty so the signal might need adjusting before the lut to bring the image within range (grading should be done on the VLog signal before the lut, not after).
But skintones should be very nice:
https://drive.google.com/file/d/1WC3uiROs7-088UeBHwPpwPLQxsuzZPju/view?usp=sharing
 

Also note what omega1978 said upthread:
 

Have you got 'Continuous AF' enabled for video (this is separate from the stills AF setting) ? - see the 'Using AF (Video)' section in the S5 User Guide - it's on page 256 in the pdf I have.

Hmmm... on my S1, if I pick any other white balance BESIDES  AWB, then it will show the white balance in the upper left hand corner of the LCD (just to the left of the picture profile icon).
If I choose AWB (auto white balance), then it does not display ANY icon for white balance.
Also, you can toggle through different screens on the LCD by clicking the Display button. I think I realized that early on, and then forgot about it. 

Well my .02 is I stopped using LUTS for primaries grading for the S5 and feel like my footage is now better than before. LUTS always seemed to do things to the footage that I had no way of knowing what exactly they did with no good way to get back whatever was lost. The C200 is a different story and I cannot match the Canon CLOG3 to Rec709 LUT so I still use that for primaries grading for the C200's footage.
For the S5 I always shoot in VLOG 10bit and use the following workflow in Davinci Resolve as my starting point for all clips:
I create 3 Nodes (Primaries, Curves, FalseColor) In the primaries node I add 90% saturation and 1.17 contrast, I then adjust the lift and gain until the image looks right to my eyes while making sure that it fits within the WFM for Rec.709 I have a false color LUT and I apply that to node 3 then disable the node. After grading the primaries node I enable node 3 to check skin exposure, if the false color LUT shows the skin is over or under exposed I adjust the lift and gain as needed to get proper skin exposure.  After the project is complete I sometimes add an adjustment clip over everything and apply a creative color grading LUT to the adjustment clip to give the entire project a creative grade. Also, but very rarely I use Node 2 to adjust the curves if I'm not getting the granularity I want with the primaries wheels; but its pretty rare. Really the only time I do this is when I need more contrast in a specific area but don't want to affect the rest of the image. My whole process for each clip only takes seconds and after I grade the first clip I just copy the grade to each subsequent clip and make slight adjustments to the lift and gain as needed depending on the lighting conditions. If there are no people in the video  or for that particular clip (i.e. for real estate), then I just use the WFM and make sure nothing is over or under exposed. Definitely not Hollywood quality, but I'm also not being paid Hollywood rates.
For the project settings I've always just left them at their defaults (Davinci YRGB and timeline color space Rec.709). 

check out "How To Sell Video Production Services At Higher Rates" on Facebook. It has a lot of members and business related things is all they talk about. 

OK, first go in to preferences and change the color management / color settings. Set output color space to Rec.709 2.4 and disable any input LUTs / transforms.
 
Then in either the media pool or the medial viewer of the edit page, change the Input Color Space to Panasonic V-LOG / V Gamut

 
You should end up with a really good starting point even before grading. I disabled the nodes in my grade to show you the starting point. NOTE: For whatever reason, photoshop saturates my screen captures from the color page of resolve a lot, so the image is not as saturated as it looks in this screen shot.
Note the HDR panel location next to the primary wheels / bars / log tab. If you see the levels in the center viewer, click the HDR icon a second time and it will display the HDR levels tool instead. 
HDR tool works EVEN IF YOU WILL BE DELIVERING IN SD INSTEAD OF HDR. big benefit is that adding contrast does not add saturation the way that it normally does when using primary wheels / bars / log tools.
 

 
Hope this helps. 

I just upgraded to 17 yesterday, could you post a printscreen of your settings as I dont seem to be able to get it working properly?

@zerocool22
Which version of resolve are you using?
If you have version 17, I highly recommend using the DaVinci Wide Gamut (you have to go in to DaVinci Managed Color in the project settings and then choose DaVinci Wide Gamut), then make sure the input color space for your clips is set to Panasonic V-LOG, and it looks really good, IMHO. Be sure to NOT use any CST or LUT nodes when you try it out.
Also, with Resolve 17, Panasonic V-LOG and DaVinci Wide Gamut, try using the HDR panel for your primary grading instead of using the LOG / Primary wheels / Primary Bars.
Hope this helps.
ASIDE: Personally, I was never completely satisfied with the V-LOG image in Resolve 16 when using either CST or with the Default LUT, nor with ACES transform. Of course, could be 100% operator error. I liked using some of the Varicam LUTs that are available on the Panasonic site, namely the  Fashion Lo Contrast and Nicest LUT. 

Yes that is true, maybe we need to update the first post with every good piece of information, so users do not need to scroll through heaps of comments/pages?

Hello, 
I shot some clips with V-log on the S5. But when I apply a color space transform in Resolve the image and skintones turn really red. So that cant be correct. What am I doing wrong? (Skintones were lit with 5600 light with custom wb, before the colour space transform the colours look normal)
Input color space: Panasonic V-Gamut
Input Gamma: Panasonic V-log
Output Color Space: Rec709
Output gamma: Rec709
 
Thanks,