Souto

Hi!

I've shot this film fully with GX80 (GX85) + ProColor.
All shots handheld with 5axis stab on.

I thought I will share the video, it shows this LUT capabilities:
 



Footage during night with ProColor LUT without noise reduction in editing, mostly ISO800:  https://youtu.be/E5nYXPcDk_g?list=PLY1xsQ047Gnh2maspLJuKMIUcv0KF_3Tu
 

 

Additional video from slashcam.de, GH5 internal V-Log 10bit versus 8bit
 

So far in all of this lively discussion the link below has been the best information on the GH5's potential. All these "lab" tests mean little to me compared to seeing footage used in a edited film. While I do conduct tests all the time to find a camera's limits and give me direction to its potential, nothing beats a shoot. Despite liking what I see in the link, I do wish I'd see more tests or sample footage would involve flesh and bone humans in front of the camera and a little camera movement rather than the usual Phillip Bloom style "moving stills" approach. I've nothing against that style of shooting but it seems to overwhelm the sample footage these days. We all don't make landscape films to easy listening tunes. I'd love to see some stories, docs, etc shot on this camera because at the end of the day, we don't shoot to make tests.

Andrew, there was a Thai filmmaker you once featured that made an amazing short on perhaps a 5D (not sure) about a kick boxer I believe. I wish Panasonic would put the camera in his hands. That's the type of shooting that would tell me a lot about the camera - how flesh tone, movement, contrast, etc play into the drama. But I guess Panasonic (and Sony, and Canon, and....) rather give it to safe bets, blog presence or pretty ladies in Japanese gardens and other cinematic pablum.
 
 

Slashcam.de is a very trustful resource for anyone interested in videos. For years I use their unbiased knowledge in matter cameras and other stuff. There is an English version of their site, but all tests come first in German. See in their careful test that the 10 bit file works fine in comparison with the 8 bit (look at the forehead of the doll on the adjusted image -  last one): https://www.slashcam.de/artikel/Test/Panasonic-GH5---8-Bit--10-Bit--4-2-2--V-Log-L---alles-OK----Die-GH5-in-der-10-Bit-Praxis.html#Die_G  

Slashcam.de is a very trustful resource for anyone interested in videos. For years I use their unbiased knowledge in matter cameras and other stuff. There is an English version of their site, but all tests come first in German. See in their careful test that the 10 bit file works fine in comparison with the 8 bit (look at the forehead of the doll on the adjusted image -  last one): https://www.slashcam.de/artikel/Test/Panasonic-GH5---8-Bit--10-Bit--4-2-2--V-Log-L---alles-OK----Die-GH5-in-der-10-Bit-Praxis.html#Die_G  

Here two examples, @balazer. Both are without picture adjustments.

Have got very good results with Logarist. Tried it with my GH4 (cine-d) both in Vegas 14 and in DaVinci Resolve 12.5. The instructions are also very clear. I can only thank the people who took their time and effort to develop this tool, and made it available for free!  

Again, I am a horrible colorist, so take my opinion with a grain of salt, but I have found input/utility/conversion LUTS to be horribly inconsistent. Unless the LUT creator knows your exact in camera settings, exposure, etc..., then it will be hard to get a proper baseline.
However I do like Film Print Emulation export LUTS at the end of the coloring process to add a little bit of depth to the image. 
With all that being said, there are a couple basic utility LUTS that work fairly well and for slog I have found the LUTS made for Arri work the best.
Also, it seems the camera profiles with FilmConvert work pretty damn good too.
Sorry for the off topic. 

Here are some clips I did with my wife's G7 Lumix. I used the settings for Standard pic profile Andrew recommended, and used the Pro Color LUT with grading. 
Let me know what you think.
 

Ciao!

This is a music video I shot with GH4 and G7 (both with Natural profile, saturation -5, contrast -5).
I shot it very quickly: two afternoon and an evening, one week between the 2 days of shooting and in that time I sold the GH4, so the second day of shooting was with the G7.

I shot all handheld without shoulder rig except for a part of the indoor shot with the voodoo witch, where I used a tripod while she mix the potion.
The drone scenes are shot on DJI Phantom 3 Professional (not mine, we called a pilot), which is a little too "digital" for my taste. 

I used Andrew's EOSHD Pro Color for Panasonic and I'm really happy about the skin tones and the overall colors. I also used FilmConvert's Kodak Vision3 5207 with grain 20%.

Thank you Andrew

p.s.: can you spot which is the GH4 and which is the G7?  
 
 

Well that's interesting. Not 100% sure on that skin colour? but pretty impressive overall. What an easy one step grade! What to set idynamic and iresolution to Andrew? I had idyn off and ires standard here. Temp -15, Exp +0.4, Shadows 31.9. GH4

Thanks for using Pro Color on the video JazzBox.
I see you had contrast -5
It would have looked better with the optimal settings in the guide, which have contrast at 0.
When you set contrast to -5 it doesn't give you more dynamic range.
It reduces the amount of tones between one colour and another = Less colour information in the end result even when you add contrast in post.
This is EOSHD Pro Color for Panasonic with Contrast at 0 (optimal, as in guide):

And this is at contrast -5 (see how the tones on the face are mashed together?):

Thank you very much!
I used the strap only on the first couple of shots.
For the one at 0:10 I tried to use the straps to simulate the Wing ( https://www.edelkrone.com/eu/p/187/wing ). The Olympus 12-40 was on 40mm.
For the shot at 0:13 I started very high with the camera and I went down on my knees, the lens was set to 12mm, in order to have more parallax. Of course I had to try 4 or 5 times in order to have a decent shot that during the editing I had to stabilize (and crop) a little. 

Some shots were with tripod: the voodoo-witch indoor (but not the OTS shot indoor, that were handheld), the dancing, the curly girl when in close up and some wide shots.

On some shots I just put the camera down to the ground.

All the rest was totally handheld with no strap, especially the playback that was shot very quickly and very shaky on purpose.

For the playback I took the camera in my hands, the right hand on the G7 grip, the left hand on the lens (the Olympus 12-40, on 25mm for the wide shot, on 40mm for the close up) for pulling focus.  

The other lens were the CY Zeiss 80-200 f/4 (for the curly girl's close up, for a couple of guy's walking and for the dancing), the CY Zeiss 35 f/2.8 for the medium shot of the voodoo-witch, the CY Zeiss 50 f/1.7 for the indoor close up and OTS, all always at the widest aperture possible.  

All the rest (playback, walking etc...) was the Olympus 12-40 f/2.8, mostly at 25mm and 40mm. 

For the playback I used an HOYA Pro ND 16.

The video was shot very quickly, so I had no time to setup follow focus, cages, stabilizer etc..

(I had a mini-gimbal some months ago, it was quite good but 99% of the time I had no time to balance it so I sold it. After some research I tried an Ikan Beholder DS-1 which I did not like at all, a super nice Zhiyun Crane - great, but no assistance in Italy, so I did not buy it - and now I've bought a FlyCam HD300 with vest, but it arrived las week).

Anyway for music video with super low budget like this one I prefer to work with some technical limitations (no follow focus, no external monitor, no rigs), mostly handheld to be as mobile and as quick as possible, in order to spend all the time trying to achieve a nice framing and lighting. 

The cuts in editing are quite fast, so the handheld look it is not too disturbing to me  

For any questions just ask, I'm here  


 

Latest video--shot with 1DXii in EOSHD C-log, graded in FCPX with Color Finale
 

Nice, what were your exposure settings?

Since there's an example of the 1DX II skin tone in a wedding video, here's one with no Canon cameras. Just Sony and Panasonic.
 

This is a joke, right?
The Canon picture looks terrible. Blown out red channel, banding, no detail in dark areas, out of focus etc...
Looks like DR was crushed before pushing black into higher level.

We've been using the 1DXII for weddings for the past month. Skin tones on a bride are always important, and I think they are great with this body. I don't have any full films completed but here is one of our teasers : 


Matt // www.thefilmpoets.com

Looks great! I could see it being a fantastic wedding cam. What do you use for a stabilizer? 

Hey Andrew,
I agree with almost everything written in this article, however the examples I find a little strange. I believe this is a custom profile that you created for that canon but its so hard to compare when the black levels are sitting so high and the skin seems blown out (at least the red channel is incredibly close) I understand what you mean though that she was in the light of the setting sun so it should have that warmth, but I would guess 9/10 people would choose that sony image as the Canon looks a little early days instagram filter like.

Also quick note, I don't think it's fair to say the majority of American's voted for trump because of how rich he was. I'm sure he got some votes that way but  that is a painful oversimplification of what happened. 

Finally had the time to post some results. 
Here are some before and after shots using Andrew's C-Log. 
This was shot incorrectly, though. I used very high ISOs to brighten the image.
Instead, in his included guide Andrew recommends using a very low ISO and exposing for the highlights.
Afterwards, ideally, you can bring up the shadows in post. 
Gear used: 7D Mark II, 17-50 F2.8 at F8, 30 fps and ISOs in the 8000 range (lots of mosquito noise when seen at fullscreen size)
In post I just used a bit of Film Convert and bumped up the saturation. 
Notice the shadows below the tree trunks. Those would never be visible with Canon's standard profiles. So overall very happy with the results,
taking into account this is a bit of a torture test for an 8-bit codec.

Imo the NX1 wasn't to bad. My a6300 on the other hand... Uuugly.

A 6K readout does not automatically mean massive jello, it depends how fast they scan it.

Just wanted to take a moment to congratulate Andrew on a remarkable picture profile.
I have both James Miller's log profile and EOSHD C-Log. The latter, Eos C-log, is remarkable and I can confirm works beautifully on 5DM4 in 4K & HD. 
I noticed quite a bit of digital noise on the Miller Clog, while the EOSHD log seems to crush the noise on the dark end. I noticed banding on only a few under-exposed areas, but actually it faired much better than the NX1 (which owned for 1 year and could not abide by the over sharpening and banding). 
I know there's a healthy amount of 5DM4 bashing in the world right now, but as someone who uses the C100, Digital Bolex, and 1DC regularly, I love the form factor of the 5D and love the image. But that's just me. 
I am also vigorously testing some throwbacks on the 5DM4: VisionColor, Prolost, and Cinestyle. 
And for anyone who is interested, here's a Magic Lantern discussion on profiles, where some very interesting reverse engineering appears to be in the works: http://www.magiclantern.fm/forum/index.php?topic=16299.msg172869;topicseen#msg172869
 

Here a little test I made yesterday with my father's cameras and my GH4.
Andrew's C-Log wins clearly on GH4's V-Log: in my opinion GH4 is perfect in "Natural" profile - better then Canon  for resolution, frame rate etc... - but with its LOG profile it fall apart.

Mr Reid breathes new life in Canon's cameras