Exo7

Very cool, they will be very pleased. Do you have any work online?
Jamy Hang just shared these, one still from his film, and the others from fashion:

Shot this video using GHaV3 Lut on GH5s. 
Followed the guides in the documentations, just drop the LUT in the timeline and tweak the mid-tones, shadow and highlights as suggested.
I'm loving the colors!
 

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.

Looks good Chris; Did you end up monitoring with the .vlt, or 709?
Here are some stills from the weekend:

Just got a GH5 to go with my Alexa and purchased the LUTS. Pretty impressed so far. With some tweaks, they work very well. 
VLOG

GHa 

Final Look:

Great work Sage! I have been using you're luts the last couple of weeks, and it just works perfectly. Im currently shooting on a gh5 with atomos ninja V 
 
Here are some stills. The video can be seen here 
 

 

Another awesome update, thanks @Sage! Here's some 10-bit 60p stills showing off 1) V-Log w/ Prores PRE 2) Main 3) Linear 4) Properly white balanced Linear. Although I like the warmth of the original "sunny" WB  No luma adjustments on these! 

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)

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

@kye Indeed, it would be either VLog, HLG, or Cine-D (with specific settings)
1 In post, a PRE matching the format of the footage (& NLE) is first applied
2 the WB is then corrected with the dedicated WB temp/tint tools of the NLE (exposure wouldn't be corrected here, as it will impact the accuracy of the conversion)
3 Then the conversion is applied, followed by the grade/correction for under/over exposure

Watch these in anything but Firefox (otherwise I love that browser). Ideally, watch in chrome with the RGB dev fix
'The Lane' is great:
This one is V1:
The interview portion:
V1 Era:
 
(While these often reflect earlier versions, and non-standard use in some cases, they stick out in my mind as having some really neat shots. 'Always Already' is the reference example, with Firecrest NDs for Day, and ensured correct post workflow)

A few from my trip this weekend.

A few test stills showing some daylight and mixed lighting - I also posted a couple different exposure of shot to show clipped highlights. I have finally developed my node structure in resolve to a powergrade with the olpf, the hue passthrough and my extra contrast added after GHa in LAB colorspace. Seeing as I how I haven't convinced work to invest in Pansonic(they use sonys sadly) I will hopefully have my first personal shoot coming up to really put GHa through its paces. Loving this conversion!
 
 
 
 
 









 

In his case, I believe he is using a Film Lut intended for LogC. Arri tends to be more rigorously supported by third parties (accurate film conversion). This would be a very different starting point from Arri's R709 Lut. Main/Soft are a nice place to start grading from (without further *technical transforms etc.)

I used some variation of Kodak Vision, also I have some love for the Fuji Eterna. That helps to establish a base grade, then i start with my own secret sauce.
I will only reveal that some important ingredients of my grading are, Diffusion and warming the shadows/cooling the highlights.

Hi everybody!
It´s been a long time since the last time i pass on this forum.
Now i wanna share my last work, a fashion/music film.
Shot with GH5 and using @Sage Alexa color for starting point in the grading. Using 2,21 aspect ratio. Mastered in 2.3k (2386x1080)
Hope anyone can enjoy it.
PS: Soon I'll share some stills for comparison. 

My recent trip to Guilin China, shot on gh5s and color graded using the latest Verde version with overlay of ImpulZ film lut ? loving the colors.
 

Kowa B&H Close Focus Mod & other 'Tweaks'
 
Recently I picked up a very cheap Kowa B&H that needed a lot of internal cleaning and a fresh re-lube. Since it was my 'Spare' Kowa, I have a chance to illustrate/share my findings on some simple modifications that I discovered a couple of years ago on another lens. Since I already have a 'Standard' Kowa to compare with, it should prove easier to illustrate the difference in performance before & after modifying such a lens.
These principles will work on many lenses of this type that share a similar construction.
Following these steps are at your own risk.
 
The modifications allow:
* Minimum focus to be reduced from 5 feet down to 3 feet.
* Reduction/elimination of 'Veiling Flare/ Barrel Glow' that is common with Kowa lens types.
* Overall sharpness improvement.
 
Close Focus:
To achieve closer focus from the 5 foot factory standard is pretty easy.The focus mechanism transport is done by a helicoid pushing/pulling the front element that is seated within a tube, guided by brass tabs/stoppers within slots in the housing.These brass tabs/stoppers ensure that the linear travel is straight and true (ensuring correct alignment with rear optic). By cutting these tabs to be shorter, the travel of the front optic assembly is allowed to seat closer to the body - allowing closer distance between front and rear optic.
This allows an increase in optic proximity to be achieved. This modification effectively allows the focus ring to turn to it's maximum close focus position, and not restricted by factory limits.
 
 
 
 
Veiling Flare/ Barrel Glow - Reduction:
 
A common artefact of Kowa lenses in bright light situations seems to be a strong Veiling glare. It is similar to a strong vignette of light that happens when the front optic is hit with off-axis light. Although this can be a desirable artefact, often it is too overpowering to the image when purposely flashing the lens to pop a flare for effect.
A simple solution I found is to blacken the edge of the front optic - this is the edge that gets hit by light and pools the image with a 'Barrel glow'.
Taking a fine tipped marker pen does the job well (without needing to disassemble lens) - even better would be black paint and a fine brush and a steady hand if you wanted to eliminate glow completely. I personally tried the marker pen method, as you can carefully remove or thin the ink with a tiny amount of lighter fluid on a brush - creating a reduction/dulling effect, rather than remove the glow effect completely. At least it is good to know how to minimize the glow effect, especially when shooting in bright sunlight without a mattebox and you don't want everything to be washed out all the time.
 

 
Overall Sharpness Improvement:
This came from a few year back when playing on another Kowa lens and is the nicest find I've discovered so far (about most projection anamorphic lenses). I found that when removing the brass tabs that are used for alignment, you can separate the front and rear optic assembly for cleaning etc.
But If you do not re-install the tabs into the pre-set positions (using the screw holes aligned in the factory) - you can often tweak the alignment and fine focus to be even sharper.
 

As a pure guess, I can only presume that back in the day when most of these lenses were made the tolerances for alignment were only considered for image projection, rather than image acquisition (iscorama/bolex types an exception) I found that by freehand rotating the front optic assembly (when attached to camera) - It is possible to achieve more finite sharpness from the alignment. Using high magnification on my camera and additional magnification on my EVF + focus peaking at a reference at infinity - it was possible to rotate the front element assembly to what is probably fractions of a millimetre from the factory alignment, then glue the brass tabs into a very slightly new position. Glue works well, as it does not require additional holes to be drilled to re-seat the brass tabs, or forever alter the lens. The glue does not bear any load of consequence, mealy seats the tabs to prevent rotation.
The lens can be easily returned to its original alignment by dissolving the glue with solvent and returning the tabs to factory position. I’ve found that the very slightest tweak to factory alignment in 3 out of the 4 of these Kowa lens types I've owned, improves the sharpness noticeably.
 

Here's some tips, based on my experience with the sharpness tweak:
I'm not sure if this is the case with every lens, but with mine, it was possible to adjust the sharpness without even removing the brass tabs.
Just by loosening all 6 screws, but leaving the tabs in place, it created enough rotational play in the front optic for me to fine-tune the sharpness. This is because the holes in the brass tabs are ever so slightly bigger than the screws, so you have a little room for rotation.  For me it was just enough. 
Once you find the sweet spot, simply re-tighten the screws.  No glue needed.  Be careful that the act of re-tightneing the screws doesn't nudge the optic. This took me a little while to get right.  Once everything is tight, check the image again to make sure it's still sharp.
As Tito says in his video, it's easiest to judge the sharpness using a long lens at (or near) infinity, and stopped down to 4 or 5.6.  In my case,  I could never get a sharp image with the Kowa and taking lens at infinity.  I had to focus both lenses slightly less than infinity to get a super sharp image. 
This is very important, especially if you are using a single-focus solution.  Don't blindly trust the infinity marks on your Kowa or your taking lens.  You might be able to get a MUCH sharper image by adjusting them slightly under infinity.  I'm sure this will vary from lens to lens.
Hopefully this helps!