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  1. Like
    ChristianH reacted to GabrielFF in GH5 to Alexa Conversion   
    Nothing too complicated, honestly. I just use a Color Space Transform to take it from REC2020/F-Log to V-GAMUT/V-LOG. That takes your footage into V-LOG, but the GH5 shoots in V-LOG-L, so you might have to adjust the contrast a bit ahead of the conversion. I either set the Contrast on a serial node to 1.1 or just leave it be. Then you can just follow @Sage’s instructions on how to properly set your image to conform to cinema luminance, then apply the conversion LUT and place the black levels. 
    If you’re not using DaVinci Resolve, you can generate a LUT on LUTCalc to get roughly the same results on different software. 
    It works well, but it’s definitely not up to Sage’s accuracy level, so I’m excited to test the native conversion when it gets released. I’m sure his takes on the best picture profile, codec settings and exposure guidelines will be invaluable to getting great results with the X-T3 as well.
    BTW @Sage, any ideas when the conversion for F-Log might drop? I assume its a lot of work, so I just wanna make sure I don’t run out of nails to bite until its released hahaha
  2. Like
    ChristianH reacted to Sage in GH5 to Alexa Conversion   
    Will do; that's a relief!
    The challenge with in-cam monitoring (at least on the GH5) is that the interpolation with 17x is the worst I've seen. I remember hearing the S1/H could accept 33x, is that so?
    This is an area that I want to spend some time studying once a few things are finished. There is variance; the Alev sensor has been said to be tuned between the photosite dyes, UV/IR filter and color sci to have more consistent results across different light sources (there used to be a blurb on their site about this, the old Classic page). The conversions are inherently light source specific (i.e. sunlight or halogen)
    Count me in!

  3. Like
    ChristianH reacted to Maxbrand in GH5 to Alexa Conversion   
    I find that using the pre and then working as if I had shot in V-log works very well when using HLG. I was somewhat forced into this workflow when I bought the Ninja V because of the whole video levels thingy making v-log impossible to use if you want a reliable preview on the monitor. I find HLG more or less as good anyway though, so doesn't really matter much to me.
    Some examples of using HLG with GhA:


  4. Thanks
    ChristianH reacted to Wild Ranger in GH5 to Alexa Conversion   
    I will try answer you both. I think that to make it realistic it all came down to "order of operation". If you add a diffusion fx in post, make it to be in the very first step of the chain, or at least after the WB/exposure corrections. The grading, look and fxs have to come after that. 
    raw footage ▶️ Diffusion ▶️ corrections ▶️ secondary corrections ▶️ grading/look/ mastering
    raw footage ▶️  corrections ▶️ secondary corrections ▶️ Diffusion ▶️grading/look/ mastering
    Tiffen has it's Dfx plugins witch are really nice, but i also use the Red Giant Looks diffusion, those look great also. Oh! and make sure you are working on 32bit color space.
    Yes. I use the Viltrox EF-m2 its way cheaper. Also, it's a tiny bit softer than the Metabones, but for my taste it helps to reduce the super sharpness of Panasonic cameras.
  5. Like
    ChristianH reacted to Wild Ranger in GH5 to Alexa Conversion   
    I have new stills from a recent shot I was DPing. It's another theme, Kinda of game of thrones thing ?. I think this is a good point of reference to see how color look in this type of forest/swamp with those costumes and production design. Here i used some old vintage Takumar lenses because of the organic look they have, i think they help to sell the fantasy theme.
    I use the same procedure I always do, and my style of grade using GHa Daylight to LogC. And diffusion LOT of diffusion!

  6. Like
    ChristianH reacted to HockeyFan12 in Pro camcorders? They're pointless creatively.   
    I couldn't disagree much more strongly. That kind of rigging is taking away everything good about a dSLR and adding nothing but headaches. The only exposure aid I need is my 758 cine (heck, with zebras I don't even need the spot meter) and the only sound I would use from an on-camera mic would be for syncing dual system sound. Even with the best pre-amps in the world, your mic is still in the wrong place if it's on-camera. I can see the handle or a small cage being useful for balance, or maybe a loupe in daylight being helpful, but beyond that I don't see the point.
    That said, not everyone agrees with me! If it works for you it works for you. As I mentioned before, s union AC I worked with did the same thing with a C300 when shooting a super bowl ad, rigging it out like crazy... and it is not designed to be rigged out. I asked what the point was when the ergonomics are great (for me) out of the box, but apparently the operator wanted a large 435-like form factor as it was what he was used to, having a film background. He wanted the thing to weigh 50 pounds.
    But for me the smallest rig is the best one. If I wanted to weigh it down I'd tape a barbell to it. I do often get asked to use a matte box or something so clients and insecure actors will feel like the small camera is a real "cinema camera" but nothing makes me more irritated than this request. "Is that a real camera? Yes, are you a real actor? If so it'll show in your performance. If it's a real camera it'll show in the footage." But when I get that request it doesn't even reflect on the camera it reflects on me. If you think you know more about my job than I do, you've already lost confidence in me just by asking for a larger camera. Project your insecurities elsewhere. I'm doing my job well, worry about doing the same. Ugg... actors. So insecure it even wipes off on camera department.
    I'm not saying I complete disagree, though. The Black Magic cameras, for instance, have such poor ergonomics that they need to be rigged up. Just offering a dissenting opinion. Each will have his or her own preferences. (And for mirrorless still cameras like the GH5 and A7S I do think the ergonomics are so poor that they often benefit from having a small cage and an HDMI clamp, but beyond that I don't see the point.)
  7. Like
    ChristianH reacted to Sage in GH5 to Alexa Conversion   
    The budget option would be to use the higher digital Olpf settings (6/20). The DD1 is solely a texture filter, sans halation. It optically makes detail 'thick' and 'smooth', whereas the normal digital aesthetic might best be described as 'anemic' and 'crisp'. For halation, I prefer Low Contrast over BPM, as it is optically true to the way that organic lenses diffuse light (BPM always looks like BPM). It will smooth falloff, at the cost of distinctly stronger diffusion than Alexa (often preferable on a film)
  8. Like
    ChristianH reacted to Sage in GH5 to Alexa Conversion   
    Its a combo of compressed contrast because of higher halation than the Alexa (distinctly higher with LC1/4), and a missing top three stops.  DD1 with light Olpf settings (5.2/20) is quite a close match (optical Olpf side-by-side coming)
    I shoot to 1080p, as that's all I need (a match to the classic); if you don't mind the data rates, 4K is worthwhile (most are shooting to 3.2k with Alexa Minis today, and some high end productions to Alexa 65/LF)
  9. Like
    ChristianH reacted to Sage in GH5 to Alexa Conversion   
    About two months ago, I bought a bunch of filters to see if I could match the Olpf optically. I haven't had a chance to do a proper write up, but updated the Pdf - the closest one was Tiffen's Digital Diffusion 1. I had always thought Low Contrast 1/2 would be the match because of Jim Jannard's note about matching the Red to Alexa many years ago, but it wasn't even close (too strong). That said, LC did improve the falloff, to smooth out the stair stepped nature of the GH5's falloff, which was Alexa-like.
    The optimal stack I settled on was:
    Lens > Firecrest ND (Cancels out inverse sensor reflections) > Tiffen Low Contrast 1/8 > Tiffen Digital Diffusion 1
    That said, I use 1/4, which gives a nice distinct diffusion and smooth falloff, but is decidedly stronger than the Alexa (lowering the contrast as well). LC 1/4 + DD1:

    This original Gunleik Groven test had also convinced me that Low Con 1/2 would be the ticket:
    Red 1MX


    And DD1 examples, from Tiffen:

  10. Like
    ChristianH reacted to katlis in GH5 to Alexa Conversion   
    Wanted to share more GX85 Cine-D samples. It's fun to carry around with the 14-42mm pancake for impromptu video when I'm not using it for photos. Additional coloring was done on top of GHa.

  11. Like
    ChristianH reacted to Sage in GH5 to Alexa Conversion   
    Sure, here you go - these are the raw conversions (last is the default V35 look-up for reference)





  12. Like
    ChristianH reacted to Sage in GH5 to Alexa Conversion   
    Thanks Christian, I appreciate that
    Well spotted; I had a conversation a bit ago with the creator of the video, and he said that he didn't like something about the greens from the conversion, and tried to correct for that. Indeed, a signature quality of Alexa color is slightly cyanish greens, and I think this is probably what he felt must have been a mistake. This is what the greens look like from the current raw conversion:

    It will; trying to get this ready as fast as possible. The key for Main/Soft is moderate exposure (avoid over/under)
    -5 on sharp/NR is the closest in cam to Arri texture (doesn't affect color though). I prefer no further processing in post (ideally well lit, focused etc)
    The only necessary correction for a moderately exposed GHa shot is to set the black level
    Also, the OLPF setting is simply fantastic for achieving the Alexa texture; the PDF will be updated on this as well (in Premiere, the preview can look a bit softer than actual export; the texture is decidedly improved and smoother)
    @PannySVHS He isn't; I found him through a reddit post. I'll see if he might drop by to chat
    @Jonesy Jones Impressive work.
  13. Like
    ChristianH got a reaction from mercer in GH5 to Alexa Conversion   
    Yeah, I'm really in love with that color. Wish I knew his settings/workflow. 
  14. Like
    ChristianH got a reaction from JeremyDulac in GH5 to Alexa Conversion   
    Sage, this is bloody amazing. I've read the whole thread now and watched just about every video posted. I didn't really consider the GH5 (small sensor etc.), but with these settings, it blows everything in its price range away. Sony colors look mighty wonky compared to this. If I get a GH5 this is an insta-buy.
  15. Like
    ChristianH reacted to Sage in GH5 to Alexa Conversion   
    Main/Soft are low contrast color bases resembling film; it may indeed work well for a retro film aesthetic (as in 'Tilian - Cocky'). For non-standard use, people often use it in unexpected ways that will move away from true Alexa color. There's been a variety; grading before the conversion, using the conversion at a percent strength, using non-full spectrum NDs, using the Lumetri luma curve, shooting HLG/Cine-D over VLog (this is about to improve), grading LogC directly without a display Lut, placing black level very high (above 5 IRE), placing luma brightly (faces above 45 IRE anchor), ETTR into the rolloff, combining the LogC variation with Main/Soft
    For Alexa luts, do you mean the Arri display luts for Rec709 etc? I'm going to do SBS comparisons with a variety of Lut options soon. Wild Ranger uses LogC film conversions with GHa occasionally, such as in Basta above
  16. Like
    ChristianH got a reaction from Michael Coffee in An adventure into the Panasonic GX85/80 begins - and a look at the Leica Nocticron for Micro Four Thirds   
    I'm picking up my GX80 tomorrow! So excited. 
  17. Like
    ChristianH got a reaction from John Matthews in An adventure into the Panasonic GX85/80 begins - and a look at the Leica Nocticron for Micro Four Thirds   
    I'm picking up my GX80 tomorrow! So excited. 
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