Georgios

Here they are with the new V3 Main, and levels set per the Pdf, with WB correction as best I could:

Emotive Color Version 3
Core LogC Details
- Rewrote engine to work at 65x65x65, main files are now at eight times resolution (supporting files processed at that resolution)
- Fine tuned multi-pass/smoothing technique, to achieve absolute smoothness of final files
- Introduced Averaging (averaging two separate measurements/conversions of a light source)
- Corrected LogC rolloff artifact introduced with Verde
- Corrected far magenta-red artifact
Emotive Color Component Details
- Remade EC component to incorporate new Arri primaries  that were quietly revised this summer for Alexa LF release
      (much deeper, more accurate red placement in relation to blue/green, and subtle hue shifts throughout)
- Incorporated 'Sat Lock-Out", like hue lock out, that is fully accurate to saturation distribution between relative hues of Arri RGB primaries
      (corrects excessive saturation of orange/yellow/green in highlights, and under-saturation of blue in shadows)
- Significantly refined saturation model
- Unified EC for both WBs (taking a que from Arri's single R709) [Tungsten has significantly more contrast, higher ideal exposure]
- Smoother rolloff placement in EC component
- Replaced Pop with Linear (no highlight shoulder, better alternative to Arri R709)
 
- Remade all PREs with latest process (at 65, provided at 33) - much more accurate and smooth
- Entirely new PDF (and supplemental waveforms)
- Added Daylight Skintone SBS
- Updated 'Always Already' with V3 (Download 'Original File' - *Avoid watching in Firefox)

The "Blue" Update is out:
Deeper, Richer Blues Smooth, Foregrounded Skintone Brighter, Richer Greens Adjusted Shadow Gamma Placement Core LogC: Tweaked Clipping Rolloff

I got the Decklink and hooked up the Inferno. Holy shit there's a night and day difference in NITs and shadow/highlight detail. I'm a little bit worried about using the HDR monitor as a reference until I start delivering in HDR.
 

Question for all of you that have been using HLG. What is the input color space and output color space? When I'm looking at an HLG file in Resolve it seem's pretty decent while working in HLG color timeline, but there's no option for HLG output. Rec2020, Rec2100 looks bad. The colors are all shifted. Output to Rec709 looks good but I'm not seeing any  more DR on that output than VLogL.
Update: I found that using Rec2100 as the input and output is key. It's hard to see any difference on my Rec709 monitor but I'm getting a decklink hooked up to view HDR on the Atomos Inferno.

Just asking, is there a chance that you interpreted HLG as video range in your NLE? My understanding is that it's full range, and it might look clipped when interpreted as video range, even though it is not.

This is actually really impressive. Top work!
How does the GH5 footage feel to grade once converted? I presume it wouldn't handle quite as nice as actual Alexa footage?

THE Juan Melara? Awesome!

Hi guys,
I just bought a GH5s and I am planning to use the C4k mode a lot for weddings. But i have a question about it.
Since most monitors and televisions are 16:9, or either 1920x1080 or 3840x2160, I think that it is best if the films I make for people are exported in 3840x2160. That way I am sure that their telivision isn't doing any weird scaling.
I usually add black bars in post to crop to 1:2.35, but I deliver in 3840x2160 with the crop bars hardcoded in the export. This is what I am doing for a long time now, but now that I have C4k or 4096x2160 to my disposal, what would be the best workflow in Premiere?
I was thinking that I should leave my sequence settings at 3840x2160 and when I add the C4k files just let Premiere 'scale frame size' them to 3840x2160. In other words, the C4k files are 'zoomed out' by 93.75%. Then just add the crop bars like I normally would and export as 2160p.
Does that sound good to you guys? Another reason why I am thinking of doing it this way is because I use multiple camera's and not all of them have a C4k mode. So mixing them on the timeline becomes easier and nothing is upscaled.
Any disadvantages for this method? Or do you know a better way of working and delivering with these formats?
Thanks!
 

Panasonic will soon(ish?!) send me a GH5S to play with so I’ll check it out.

I've built prototypes of an iscorama-style single-focus adapter, but its really only suitable for shorter focal lengths in the 35mm to 75mm range.  Also, its a bit large, and the front element moves during focusing, which may cause some issues with matte boxes.  I'm also building a second type better suited for longer focal lengths in the 75 to 200mm range.  I'm still debating whether to modify these for internal focusing, which would be good for heavy-duty cine use, but would make the adapters larger, heavier, and more expensive.  To be honest, I've put the adapter project on hold until I get a few focal lengths in my anamorphic prime series completed.
 
 
 

Couple more great stills from David:

I've collected a few gems from Facebook:

In producing "The Middle Path" did you change any of the defaults such as highlights/shadows or knee adjustments? V-Log L?

No, when you move away from a base/native ISO, you lose dynamic range the further away you get. With the GH5S, the dual native ISO reclaims those lost stops at 2500, that you would have lost on the GH5 if you were just gaining up from the native ISO 400. So a GH5 at ISO 2500 will have less dynamic range than a GH5S at 2500. But put them both at ISO 400 and they will both be the same. That's the thing many are missing about the dual ISO function. It's less about noise, and more about maintaining equivalent dynamic range at two ISOs.

@Neumann Films very cool.
Does the GH5s really have 2 more stops of DR than the GH5?

And also, darn! Is 3:30am here in NZ

But with all this new info leaking out I might never be able to go to sleep!

Let's ruthlessly dissect and analyze Neumann's first comment of 2018:
First of all, let's look into his first sentence, why did he write "Happy New Years" and not the more common "Happy New Year". Or the more grammatical correct "Happy New Year's Day"?!
What deeper meaning can we mine from this?
& why did he next say "everyone", does this hint at a well rounded GH5s being a camera for "everyone"? Suitable for wedding videographers, news reporters, film students, doco shooters, Bollywood and Hollywood big productions too?

No..he mentioned Adobe’s Alexa lut

Luke, are these frame crabs from the ***** **** ? 

"The Middle Path" A ***** **** Short", I count five starts followed by four stars. Making a five letter and four letter term? "A Lumix GH5S Short" then?
GH5S, what could that be?:)

This thread got me thinking .The teasers Neumann Films does in his VLOG posts, plus his cryptic comments in this thread... might point to a new MFT cam with better low light capabilities.
Funnily enough, 43rumors thinks a big MFT announcement is imminent in december (news posted today)
In his vlog Neumann - after teasing us with a "Classified" after unboxing something unidentified - shows a lot of available light night shooting... possibly with that new cam? this rimes well with Cliff Totten's Analysis of the GH5 sensor and its successor, the IMX294CJK. That new sensor is 10megapix-ish, and high sensitivity. Please find the link to the sensor here.
It features bigger photocells, and even a HDR mode on-chip. I'm not even getting started on 4k120p or anamorphic modes.
It's all conjecture at this point and wishful thinking... but wouldn't a GH5s be damn nice?

The solution to that problem for Panasonic cameras is that the Tascam mic has a slate tone it outputs when you press record on it which can be used to automatically put the camera into record.
I just haven't released it yet .....

I'm pretty sure it's already 16-235 in gx80/85 by default