mirekti

Working on the website as fast as I can (the primary reason is to support the S and P4K). This is the best possible news for S owners ;) Not working on the GH5 at the moment, but there will be more news there once the S is addressed.
I need a spotlessly clear, *sunny day. Many layers will be worn

Thanks Mirekti. Yes, I do have the IBIS on. It would be imposable to hold a 200mm steady handheld without it. Usually you can get away with wide angle lens and holding hand held but the longer the more shack will be introduced. It will be interesting to see what Panasonic does with next iteration of GH5 and GH5's. The IBIS is nice but wish I had a small shoulder rig or mono pod to get even smoother shots. I could have done warp stabilizer in post to help it out but wanted to see what it looked like without. 

Here is my second run and gun with the ProtoDNA.
GH5 4k handheld with Bolex 8/19 1.5x with Zeiss Tevidon 100mm f2 with Rectilux ProtoDNA.
 

I found it under Clip Attributes. I simply changed it to 24p and it is playing in slow motion now. Thanks.

You need to conform to 24p. Don’t slow it down with slow motions tools, conform the media. I don’t use revolve but in premiere you right click on the clip in the media window. I am sure it is done similarly. 

I keep hearing how everybody just comments on trivial things and complains these days so I thought I'd go ahead and make a thread where I post my creative videos (maybe some of my paid stuff too). I make video's on a fairly frequent basis, so I thought it could merit a thread. Anyways here is a short I posted on youtube recently. I am liking the super short video format lately. Have a bunch of  1 minute short projects planned for this month (for the film riot competition).
 
 

Been a while since I dusted off the ol' Iscorama 36 and shot with it. Thought I'd share here. Shot on RED and uploaded in 4K.
 

I use Zhongyi II speedbooster with GH5S and 35mm Elmarit-R is the widest I can go. Had to use rings instead of Redsan adapter as it is really important to get the back of pre 36 to the front element of Leica. It is almost touching the glass. Also, I added this to the lens (managed to make better cut in the middle, but don’t have photo), which helped to remove white flare.

Thanks! ?

No.
 
Yes.

Sliders, drones and gimbals are all over used when first becoming popular and will later on fade a bit to be used only when needed.
Personally I can't stand unnecessary gimbal shots and don't get me started on drones

Iscorama Pre-36 with Helios 44 @ f2.8 (oval aperture) on Canon 5D3

To get that sharp on my (sharpness tweaked) Kowa Inflight or Kowa B&H with Core DNA attached I'd need to stop down to at least f5.6. Sharpness is indeed often overrated, but it's sure nice to have and can always be softened in Resolve very nicely. Iscorama still has perfect balance of sharpness but with organic feel due to vintage coating. More modern cinelux type lenses are as sharp, yet look very clinical (to my eyes at least).

Did a quick and dirty lens test for illustrational purposes. 
An interesting thing a fellow Bolex-Ana owner discovered is the slight green-cast. Something that is also visible in this test.
 

I have the GVM 80 Motorized slider. It is pretty decent. I would use it more if I DIDN'T have a gimbal (which I use about 90% of the time for my video work, which is primarily real estate videos).
I did use the GVM 80 slider extensively in the following video. All the interior shots were done on the GVM 80 slider. Note that the motor speed was set near or at full speed, so you can't really slide much faster than this when using the motor.
 
I like the slider particularly for the ability to coordinated panning  or uncoordinated panning (parallax effect, where camera moves right and pans left, or camera moves left but pans right).
The main drawbacks for me is it is a bit slow to use. The remote control device isn't the most user friendly. It takes a few seconds longer to use it than it should.
Also, you have to turn the remote off (it plugs directly into the motor and the battery is in the remote device) if you want to "free hand" the slider.  Then if you want to use it motorized again, you have to turn on the remote and navigate through a couple of menus to start using it motorized again. The menus on this slider weren't designed by the guy who designed the menus on my Sony cameras, but I bet you that they are related to each other.
It comes in a soft case with foam. It should last with normal use with light(ish) cameras. It did fine with my D750 and my 18-35 AF-S G, but that is not a really heavy combo. I don't know how well it would hold up to a cinema camera or a 1DX that is rigged out.
For me, if I didn't want the panning / parralax effect, I would probably get a slider with a flywheel.  But you can tell in my video posted above that it is pretty smooth. No way I could slide and pan manually anywhere near as smoothly as the GVM 80 does.
The other cool thing about the slider is that it has shutter release cables for several camera types and you can use timelapse on the slider and trigger the shutter on your camera to take shots while the slider is at rest between movements.
Hope this helps.

Nice topic. This one i did with a modified Isco 36 (now cine Iscorama mkII). I used different taking lenses (voigtlaender 40mm 2.0, Nikon 50mm 1.8, 58mm Helios and i think there was a 80mm Nikkor as well) I used the Gh5 on a Letus gimbal in 4:3 full sensor mode. So the final frame was a 2:1 ratio in 4K. Which gave me a lot of freedom for reframing.
 

Perhaps an Idea for a topic about films only taken with Iscorama 36 and Iscorama Cinegon? This one is taken with the Samsung NX1 and Voigtländer Ultron 40mm f2.0. Anamorphic lens the Iscorama Cinegon. It was difficult to focus with minus 5 degrees Celsius and strong wind. More to follow, or who next?
 

...this is GH5S, but wanted to point out it would be great if there’s s gimbal which also comes with a strap in mind. Some harness like there is for dual cameras would be a great addon for heavier setups.

Regarding Pocket 4k, I bet there’ll be rather soona gimbal built around it.

Set "Mismatched resolution files" (in "Input scaling") to "Scale full frame with crop". Or you can set it individually for any clip on timeline: Inspector - Retime and scaling - Scaling - Fill.

Sage, I bought the LUT and I have been blown away. I want to thank you so much. It really unlocks the GH5. I think it would be great if you can do more video tutorials as well on the best uses. 
Also, without having to do all the work of making a new GH5s lut, could you just do a lut that matches the GH5 to the GH5s V-LOG (GH5 looks a bit more green to me) the way you do a C-LOG conversion?

What are your recommended profile settings when shooting in HLG for the HLG to V-Log L transformation? Heavily considering picking up ghA soon, thanks

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)

That's exactly right, that's what @Wild Ranger does often. That said, Main/Soft are almost always the best way to go, in my opinion (for Arri color), over the LogC route

@kye That'll certainly do it; swap the VLog to LogC transform for GHa LogC in Mirekti's case. Big HLG to VLog update incoming.

The best way to think about these things is in terms of colour spaces.
If you film in HLG then apply a LUT that is expecting HLG then the LUT will work as designed.  If you film in HLG and apply a LUT that is expecting VLog then it will not work as designed and the picture will go all strange.
You can use the Colour Space Transform or Input settings to change colour spaces if you like.
For example, you could film in HLG, transform to VLog using the GHa Pre LUT from @Sage, then apply a Colour Space Transform to go from VLog to LogC, then apply a film emulation LUT that is expecting LogC footage and the results will be fine (I've done exactly that).
I highly recommend Juan Melaras YT channel to understand how pros use Resolve - it's completely different to all the other YT colourists.  He's the only YouTuber that I've watched the videos over and over again, studying them to understand what he's doing and how it all works.
https://www.youtube.com/channel/UCqi6295cdFJI9VUPzIN4NXQ

I use the following:
- In Project Settings, under Color Management, Change to Davinci Color Managed
- Under Color Management select:
-- Rec 2020 HLG ARIB STD-B67 for Input Color Space
-- Rec 2020 HLG ARIB STD-B67 for Timeline Color Space
-- Rec 709 HLG ARIB STD-B67 for Output Color Space