Trek of Joy

Some tests and a review from Brandon Li.
Chris
 

The "hack" only removed record time limits and the NTSC/PAL warning, all of which is no longer an issue with the current gen cameras. I seriously doubt the chance to sell $10-20 apps was derailed by someone bypassing that annoying NTSC/PAL warning. They said it was changes in code that made the newer cameras not compatible with the apps. Though I wonder if there was any profit in the apps, not sure if they sold in the volume needed to continue development, its not like smartphone apps that are downloaded by the tens or hundreds of million.
Chris

Some tests and a review from Brandon Li.
Chris
 

Quite frankly after seeing these tests - this is just an incredible hybrid camera engineering feat. I get why its crippled, but holy hell Canon absolutely smashed all competitors with this. You can bet Nikon is picking this apart to see how they brought it all together. If it remains artificially crippled I'm staying far away from anything Canon.
A simple firmware fix can make this the beast Canon originally advertised. Unleash the beast and I'm back in. 
Chris

Some tests and a review from Brandon Li.
Chris
 

Some tests and a review from Brandon Li.
Chris
 

Some tests and a review from Brandon Li.
Chris
 

The examples were without Noam Kroll's LUT. I forgot to add his LUT to the examples. The LUT that I ended up using from him in the final project is so minimal that I think it just adds a little more contrast. I don't try to get too creative with the color grade for projects like these since the client typically expects true colors.
 
I think I would get better results with the Leeming LUT if I had a better camera like the S1, S1H, etc.  I would love to replace it with the R6....but...we all know how well that's going. The Leeming LUT combined with the GH5's sensor needs so much overexposure that the highlights get clipped pretty badly in certain scenes or the GH5 has to be pushed to high ISOs to get the necessary over exposure and then things start falling apart. So in lowlight or high DR scenes I just grade the GH5 with the WFM and a Noam LUT.
 
I emailed Leeming asking for a C200 LUT or a CLOG3 LUT and he said he will get to it if he has the time.  After using the Canon CLOG3 to Rec709 LUT and seeing how easy CLOG3 is to work with I realized I don't need a Leeming LUT for it.

Late.

@kye @Trek of Joy
 
Attached are screen shots from a typical project for me, lifestyle promo video shoot for a new multi-family community. I picked a scene where all three cameras were used (GH5, GoPro, DJI Drone). GH5 is the side shot, GoPro underwater, obviously drone from the aerial view.  
 
Cameras
Drone - Natural profile Sat/Sharp/Contrast set to -5, WB Daylight
GH5 - Cinelike D profile modified as per the Leeming LUT guide, WB Daylight
GoPro - Flat Profile, WB Daylight

Color Grade
GH5 - Leeming LUT + slight WB shift to magenta to match the drone
Drone - Expanded WFM to add contrast, sharpening 47, color boost +20, WB shift to warm
GoPro - Expanded WFM to add contrast, color boost +20, WB shift to warm
 
Time Spent on Color Grading all 3 cameras - Less than 2min. I forgot to extend the adjustment clip over the sample clips to show Noam Krolls LUT, but I went with a very subtle LUT that looks like it just adds a little more contrast.
 
Project Details - the rest of the project was shot during sunrise but as the lighting got cooler during the day I wanted to keep the warm sunrise feel (plus it was a really ugly grey day) so I moved everything towards the warmer side. I have yet to find a generic LUT that I like for the drones or the GoPro so I just do the exact same WFM grading process each time then throw a Noam LUT over everything.
The Leeming LUT I use on the GH5 if it works; I've had it do some weird things due to the GH5's terrible highlight rolloff so when there are hot spots in a scene I grade the clip by hand or I will get weird green skews and orange skin tones using the Leeming LUT. 
 
So yea, that's my whole process, very simple, very quick, probably far from perfect, but for my target customer base they are happy with the results. To your point though @kye when I shoot with the C200 and can properly light the scene and shoot in CLOG3 the results are just incredible. CLOG3 and the S35 sensor of the C200 is so easy to work with compared to my usual run and gun scenario with no control over anything except the camera settings. Exposing the GH5 properly for the Leeming LUT is so difficult, I never really know if it is right until I am grading it later. I'm always trying to retain the highlights somehow without underexposing the talent or the rest of the scene.
 
 

Quite frankly after seeing these tests - this is just an incredible hybrid camera engineering feat. I get why its crippled, but holy hell Canon absolutely smashed all competitors with this. You can bet Nikon is picking this apart to see how they brought it all together. If it remains artificially crippled I'm staying far away from anything Canon.
A simple firmware fix can make this the beast Canon originally advertised. Unleash the beast and I'm back in. 
Chris

Same, I get the technical aspects, I can balance the RGB parade and get rid of casts easily, but the fine tuning is where I constantly question myself and when things are off, just making them right. And I'm looking to gain more knowledge of just making a shot that's technically balanced look better, a lot of that seem to be in the midtones.
Chris

I'll see if I can put something together, my projects take up so much space I archive them as soon as they are done but I'll try to put together some samples, I definitely do not have anything at the level of the professional YouTubers where you have all the cameras side by side; also in that scenario the different cameras would probably be more obvious, but I'll try to find a couple of clips from the same project and show before and afters.
The most challenging for me is shooting a scene with the C200 locked down then trying to match the footage out of the GH5 to the C200 since it is the same scene. My method is quick and easy as long as two different cameras do not shoot the exact same scene.

I just got the same book, going to start on it today. I feel I have a decent understanding of the basics - getting the RGB parade sorted between 0-100 IRE, removing color casts, getting faces on the skintone line and such. But its all the fine tuning that I sometimes struggle with - like getting shots in different lighting conditions to match better and just making the image pop a little more. Lots of reviews say experienced colorists learn stuff from the book, so I'm a sponge ready to soak up the knowledge.
Good luck!
Chris

I decided long ago that I will never be very good at color grading....there are only so many hours in a day to do anything and I'm working on average 80hrs a week as it is now.  I provide an even mix of photography (models, fashion, events, real estate, landscape, etc) and video (weddings, music videos, events, promo videos, etc) all as a one man band. So I've worked myself into a place where I am more of a generalist vs. a specialist, everything I do must be economical and above all efficient if I'm going to keep up with the endless inbound stream of projects. 
So I approach color grading the same way I do everything else; what is the quickest way to reach a point where the client is happy with the final product? For me that involves a few simple things....properly WB when shooting on set, try to properly expose for the scene (sometimes a little under and sometimes highlights are clipped due to factors beyond my control), shoot a flat profile (CLOG3 out of the C200 ,a modified Cinelike-D profile in the GH5, a neutral profile in the drones, flat profile in the GoPro), and in post I use the Canon CLOG3 to Rec709 LUT for the C200 and the WFM for all of the other cameras. Within the WFM I expand the image to the edges of the Rec709 limits for each clip to give them all a neutral grade starting point. 
At this point every clip is pretty much looking pretty good but only conformed to Rec709...so my secret sauce is a LUT pack that I bought from a professional Hollywood colorist Noam Kroll.  His LUTs are amazing and much more subtle than most of the ones you find on the Internet. I've found his LUTs to be better than the camera makers themselves. So after I have my whole timeline conformed to Rec709 I add an Adjustment Clip over the top of the entire timeline in Davinci Resolve and apply one of Noam's LUTs; his Master Pack III is probably the most expensive LUT pack out there but so worth it. I haven't used any other creative LUT since I bought his. In my opinion this process gets me to a very professional look very quickly without having to spend a lifetime learning the job of a colorist.
Noam Kroll
https://cinecolor.io/

I tried to download it.
It lets you download 8K of it but then you have to wait an hour.
Or you can continue to download 4K at a time every 10 minutes for two hours.
If you are downloading to an external drive though you can carry on downloading as much of it as you want.

Brandon Li’s work. He is super pragmatic. Says the camera is an upgrade in almost every way for him (he is not a stills shooter). He didn’t use a PP either.
I think the main highlight in this video though is the autofocus. It’s amazing!

This is some of the best footage I have seen from the camera. A7SIII colors and DR rival 16 bit linear RAW from F5/F55 from a few years ago, all of that in a 10 bit 4:2:2 codec:
In the hands of a capable shooter, the lack of internal RAW is no limitation at all.

I downloaded the footage by Jacques Crafford. First, thank you Jacques Crafford for sharing these footage so I can test them out. 
So I put it in Resolve, tweaked a little bit and used a color space transform. It took me about a minute or two. Here is the quick result.

Of course this is far from a graded image, only a starting point. 
I have to say this is quite an improvement over the A7S and A7S2. People argue otherwise likely never use an A7S before because its color science is really really bad. I will not say this new color from A7S3 can rival Arri Alexa, but this is definitely a usable image, especially if you consider the codec is pretty solid so you can do quite a lot of adjustments without breaking it. 
Surely, color is subject so everyone can have their own opinion, but I feel like claiming these images are horrible may be a little bit exaggerated. 
Personally for me, although the color from this A7S3 may not be the best, it is totally usable and if one cannot make a good picture of it, he is the one to be blamed. If you think my quick result is very bad, probably it is my fault too. 

Downloadable ALL-I footage here:
 

Rolling shutter times are in and they are impressive.
 

More SOOC footage at 50/100p from the "No Limits" launch video by Jacques Crafford. 
https://drive.google.com/drive/folders/1kYjaH84X9871d8-Rmuj9DOXfmtAH6V6i?fbclid=IwAR3LPZ7njD6UadrWtejYeGQHq5hfTCNOKXBrdliOZ4w4cvrja5IrzGgRnhY

Rolling shutter times are in and they are impressive.
 

We're going to need to carry a laminated spreadsheet of all the possible recording options and the overheating protocols while working with the R5. I really want to like this camera, I really do.
SMH.
Chris

More SOOC footage at 50/100p from the "No Limits" launch video by Jacques Crafford. 
https://drive.google.com/drive/folders/1kYjaH84X9871d8-Rmuj9DOXfmtAH6V6i?fbclid=IwAR3LPZ7njD6UadrWtejYeGQHq5hfTCNOKXBrdliOZ4w4cvrja5IrzGgRnhY