Ronnie Amighetti

I'm still testing it out in a variety of situations/settings and still like it. Sometimes it's way too warm/reddish for my tastes but I'm finding that it all depends on how you expose the image. I've now dialed in sort of a custom white balance on my GX85. Both with AWB or with a proper custom white balance I have A1 M1 dialed in. Seems to work better and the RGB parade confirms.

I'm still testing it out in a variety of situations/settings and still like it. Sometimes it's way too warm/reddish for my tastes but I'm finding that it all depends on how you expose the image. I've now dialed in sort of a custom white balance on my GX85. Both with AWB or with a proper custom white balance I have A1 M1 dialed in. Seems to work better and the RGB parade confirms.

OK, great to know. Cheers.

@jase, here's a fast comparison between GH3 and GH4 profiles from FilmConvert applied to GX85 files, in case anyone's interested.
Film: Fuji 8543VD Film Color: 80 Curve: 40 Grain: 0 Not that much of a difference but I see less green/magenta shifting with the GH3 profile.
GH3 NAT

GH3 STD

GH4 NAT

GH4 STD

ORIGINAL

@jase, here's a fast comparison between GH3 and GH4 profiles from FilmConvert applied to GX85 files, in case anyone's interested.
Film: Fuji 8543VD Film Color: 80 Curve: 40 Grain: 0 Not that much of a difference but I see less green/magenta shifting with the GH3 profile.
GH3 NAT

GH3 STD

GH4 NAT

GH4 STD

ORIGINAL

Thanks for that, I will give the GH3 profile a try!

Always remember to download each and every OSX update. Don't install, just download it and then trash it. You're then gonna find it in your App Store archive.

Had to test the files out, couldn't resist. Well, without transcoding my iMac 5K almost dies with just one single clip. FCPX 10.2.3
I throw a VLog to REC709 LUT and played with it a bit. FilmConvert plays funny with colors. Guess we'll have to wait for a proper GH5 profile.
 

Don't get me wrong, I always dragged 4K right into the timeline and couldn't notice anything strange. In fact if I had to give it a number I would say the quality difference is in the order of 1% or less. It just came to my attention because I was curious to see if there was any difference in working with the original files compared to the ProRes422HQ and that's what I found out. 
After reading around about the theory of downsampling 4.2.0 4K down to 1080 and getting sort of 4.2.2 I was curios to see if there was any gain in grading and color correction. That's when I discovered the sharpness difference between the two. I was looking for something completely different (banding and grading).
Coming from the audio world, I'm used to comparisons and tests so the first thing I did was putting the two clips on top of each other and set the composing to difference, just like I did thousands of times while testing audio plugins (we usually invert the polarity of one signal to listen for artifacts). That's where I noticed that colors where basically the same, but there was a noticeable difference in sharpness.
It just ticked my curiosity. That's all. Nothing major to be concerned I guess.

Very good thinking, Ronnie. I never tested this myself, but you're right: trust your own eyes.

I dont know, I would have to test that again. Could try to do so this weekend.
I bought a Tiffen Ultra Contrast Filter as 37mm Version. Then i took a metall saw and removed the filter housing very carefully, so that I ended up with just the glas. At first I had the impression that it might be too thick, but when I put it inside the speedbooster it doesnt touch the speedbooster glas because it is a bit larger than it. The glas of the rear element of the Sigma lens doesnt protrude as well. Anyways, I put the glas inside the speedbooster and then carefully mounted the sigma lens - no issue at all. The filterglas stays at its place - seems to be a perfect fit.

I killed my MacBook Pro a couple weeks ago because of this. It was already dyin' due to other issues (graphic cards switching) and it was past it's due date (2010 model). Went out shooting for a couple days at about 0C, second day we wrapped up shooting, went for glass of wine at friend's house, I took the Mac out to download the footage and it was soaking wet. Keyboard gone, touchpad acted crazy. Luckily I had installed SSDs in there so the data was all recoverable, don't wanna know what could have happened if there were old spinning drives in it.

Hi all, just signed up after grabbing the EOSHD Pro Color for my GX80.
First of all thanks to Andrew for working it out, after a few tests I'm completely hooked to the color profile. Skin tones are now very very pleasant.
Anyway, I discovered a small issue while testing the LUT out with DaVinci Resolve. I was tryin' to clean up my workflow and transcode to ProRes422 right after archiving in FCPX. I transcoded a clip with EditReady burning the LUT in and imported in DaVinci. Comparing the ProRes422 from EditReady with the LUT applied while transcoding to a simple ProRes422 with LUT applied by DaVinci, there was quite a bit of difference at both extreme of the dynamic range. In fact extreme highlights and deep shadows get clipped while transcoding and applying the LUT with EditReady. Transcoding to ProRes and then applyin the LUT in Davinci on the other hand works better.
Just wanted to share this small info in case anyone needs it.