mirekti

You will need to go smaller with the ring - you will be surprised how narrow the diameter needs to be...it is trial and error. I can’t give an exact diameter since I’m away from my lens to check. You can use a thinner ring and cut to the perfect diameter (glue the two ends together with micro spot of superglue well away from the lens). You can then glue that smaller, thinner ring into the thicker outside ring that you already have. It is a bit tricky to explain with words, but the end result is a bit like a plug that is made from one larger diameter ring (like you already have) to fit flush around outside edge, with one smaller diameter ring that is glued to the inside of that ring that acts as the baffle/choke mask for the actual optic edge. From memory, finding one single ring that can be the ideal outer and inner diameter is pretty much impossible...so some experimenting with many combinations should be expected. As stated before, glue a few size options well away from the lens and leave to dry to disperse vapours before test fitting near the rear of the Isco. 

@jaquet Please don’t try ink or paint on the rear edge of a pre-36...it is not a good idea (even for VD to attempt). These optics are best not to touch if at all possible. An effective way to solve the square rainbow flare by making a custom rubber ring and securing it to the outside edge of the element housing.
As for veiling glare or white vingette on a pre-36? - I’m not sure if that is particularly normal (as it is with Kowa types). @ch_d is your pre-36 displaying any unusual white flare on the edges? Could you post a screen shot of what you mean? (And what taking lenses you notice it with).
Pictured below is a shot of my rubber ring solution to eliminate the square rainbow edge flare that the pre-36 gives with taking lenses other than the factory Isco type that doesn’t have the issue (because that lens has an inbuilt light baffle).
I’ve recently given Tito the details on how to make this ring, so he will probably do a video tutorial on it soon, like he did with the information I sent him about the edge blackening, close focus and sharpness tune up mod for Kowa types.

 

It is very common for the pre-36 to have these ‘square rainbow’ flares on the edge of the frame. They are caused by the rear element not having edge blackening, so it will catch the light and cause these flares when used with most ‘non factory’ taking lenses. The Isco taking lens that would have originally come with the iscorama has an internal baffle ring to eliminate this effect, so that there is the most basic solution to eliminate these particular flares...by using the factory taking lens.
The other solution is to use a thin nitrile rubber O-ring that can be installed to the rear of the iscorama to slightly ‘choke’ the light from hitting the rear optic edge that creates the flare. I have found this to be the best solution to use...as it also provides a thin rubber ‘bumper’ to the rear optic as a bit of protection when swapping out taking lenses. The thin rubber ring is simply attached to the optic rear edge with a small strip of electrical tape holding it in place from the outside edge (away from optic).
The rubber ring - when correct size and thickness, will not introduce any noticeable image vignette, as it will only block out the light from hitting the very edge extremities of the rear optic...and therefore eliminating the ‘square rainbow’ or diagonal line flares.

No PRE is needed for raw VLog in Resolve
A PRE is needed in Resolve for: HLG, Cine-D, and VLog wrapped in ProRes/DNX (or for wrapped VLog, 'data levels' can be set to Full/Data for the clip)

Wow yeah I notice the green cast in Premiere. This confirms my bias against premiere as an NLE since I also had issues after rendering in Premiere (because desaturated). I think it's officially time to move to Resolve..

Ok, thanks, I just wanted to make sure there is no need for DNxHD PRE i.e. if one uses ProRes or DNxHD the same ProRes PRE needs to be applied.

Yes, VLog is optimal, as the conversion to LogC was done directly for it; the gap for the others will be closing shortly. The data distribution will be a bit different, but the visual result the same* (one could think of the NLEs' color engines as being 32-bit floating point pass-throughs for the raw data distribution of the originating format)
Yes, if its VLog in DNX (hides the unique flagging of VLog L for correct levels) it would need the ProRes PRE. Mezzanine formats (ProRes/DNX) are best avoided at the moment in Premiere, as PPro distorts the color space (ProRes confirmed). All-I achieves the same end in camera, in the case of the GH5
A new node, after the conversion node, for exp correction for sure (distinct routing)

Same principle applies to all gimbals. People look at weight on a spec sheet as if that is the all-deciding factor. 
I just wish that gimbal companies would be more honest in their sales pitches. Yes, there are a million and one combinations of lenses and bodies but there are only a few dozen very common combinations of cameras and lenses that they should list as compatible or non compatible. The DS1 will not accept all manner of A7s2 combos without massive compromises - like the 16-35 f4 smashing against the back of the unit. When these were being shown off on YouTube by the makers, people were asking about that combination (myself included) and the answer would be:
"Yes, it should work" and then they would quote the weight limitations as if that was all the evidence needed.
What they should have said is:
"Don't buy the unit until we have tested that extremely common combination of camera body and wide angle lens. Yes, it is within the weight limit but we cannot guarantee the ease of balance due to the front heavy distribution of weight. We have tested your camera with 'these lenses' and can confirm that it works perfectly"
When people began reporting issues with that combination they backtracked to the position that I stated above. Why can't people say "We haven't got a clue, mate" instead of "It should do"?

I have looked at the sample videos - and Casey's stuff. IN NO WAY DOES THIS COME CLOSE TO THE RESULTS FROM A GIMBAL!!!  It is pretty impressive stabilisation for sure.
 
But to say it replaces a gimbal is very misleading - the stability approaches perhaps 60% of what a gimbal gives you. (which is impressive - but they are over stating the results)
 
Having said all of that-  I am tempted to get one.

@mirekti Yea, that's me
Well, this definitely puts the pressure on! If I do not get this done by the end of the year, I will return your donation. Thank you for mounting this effort, I hope to rise to it.
I need a sunny day or two (and some time)

Hi all,  inspired by great results from @Sage and his GH5 to Alexa Conversion I wondered if there are enough GH5S users here who would help out in getting the same for GH5S.
As the prerequisite to get this done is having GH5S camera, the way to do it is to fund a rental for a week. The price is around $100 for three days and $144 for the week. The latter will give him more time to do the work, and that's why I suggested a week of rental. A round trip shipping is around $40.

I will start with a donation of $50, and would kindly ask anyone who is interested to contribute with as much as they feel comfortable with.
In order not to make this an endless loop, everyone who contributes could simply reply here with the amount until we reach $190/200 or if you don't feel confortable posting the amount here you can PM me or we can simply trust @Sage to report us when the fund has been collected.
Now, I might have written too much text, but wanted to make sure there's no scam behind this, just a mutual endeavor of GH5S users.

The PayPal address is emotivecolor@gmail.com
@Sage please confirm this is a valid email address so there are no doubts.

Thanks and cheers!!!

Hi all,  inspired by great results from @Sage and his GH5 to Alexa Conversion I wondered if there are enough GH5S users here who would help out in getting the same for GH5S.
As the prerequisite to get this done is having GH5S camera, the way to do it is to fund a rental for a week. The price is around $100 for three days and $144 for the week. The latter will give him more time to do the work, and that's why I suggested a week of rental. A round trip shipping is around $40.

I will start with a donation of $50, and would kindly ask anyone who is interested to contribute with as much as they feel comfortable with.
In order not to make this an endless loop, everyone who contributes could simply reply here with the amount until we reach $190/200 or if you don't feel confortable posting the amount here you can PM me or we can simply trust @Sage to report us when the fund has been collected.
Now, I might have written too much text, but wanted to make sure there's no scam behind this, just a mutual endeavor of GH5S users.

The PayPal address is emotivecolor@gmail.com
@Sage please confirm this is a valid email address so there are no doubts.

Thanks and cheers!!!

You've got it (v2.2), even though it is labelled as V2 on the Pdf. In the future, the version # will be more visible (at the moment its tagged in the metadata of the file)

Hey guys, sorry for the delay. I'm deep in technical at the moment. I can be reached directly via email
Noise amplification and artifacts are completely absent with the conversion (others feel free to chime in); the next update will hit the theoretical max for smoothness, for which I am very excited
No S yet, I'm still completely occupied with updating the 5; in any case if I get to it, you will get it
All-I is on the level with ProRes, if you'd like to record internally
As of this moment, VLog is preferable to C-D & HLG, because of the directness of the conversion (the fidelity/smoothness is simply better). That gap is about to close considerably
For normal speed, you can overexpose, no need for more than a stop (avoid skintone around/above 65). Avoid underexposure* Of late, because of the nature of grading tools and complexity of hue lock outs, which I will cover in the next Pdf, I think it is best practice to try to expose for your preferred final image using the .vlt in the viewfinder (for reference performance, especially for PPro users).
For 120, *definitely overexpose - just avoid placing anything important deep in the rolloff. Monitoring Luts are for VLog only
Thanks man. The two biggest compliments I've received were from Amira shooters. Andrew Wilding said he preferred EC 'Soft' to the Amira itself, which made my day*
Here is a still using Verde and something more recent:
v2.2 Verde

?

 

@Sage Nah, I bought it anyways, looks too good not to give it a try.

@Sage Nah, I bought it anyways, looks too good not to give it a try.

@Sage Nah, I bought it anyways, looks too good not to give it a try.

Alex Mitchell and John Brawley from BMCuser have been confident in this fact, and a Panasonic rep confirmed it via email:
"The Gh5 does not have the Optical low pass flter however the GH5s does indeed have an optical low pass filter. that is fact one of the differences between the models.

Thank you."

Sincerely,
Customer Relations
Panasonic Canada Inc

That's a good idea. I'm going to do a tutorial video, and streamline the vital points to emphasize them.
Yes, the Premiere PRE (for VLog) corrects a subtle green distortion in VLog shadows that is unique to Premiere. Then you may use 'Main' in the 'Creative' section. The LogC variation is a distinct workflow (exact copy of what comes out of an Alexa, as measured at every point in the colorspace) that requires a (3rd) display Lut.
Main prepares everything nicely, so that you are right in range of correct cinema luma placement (a place graders often go awry), have the correct Arri RGB display primaries for LogC, and have ideal saturation placement (especially with v2.2).

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.)

There are many who use it for the S now (they are very close, and the improvement is simply massive). I hope to actually release a free update for the S specifically, when I get my hands on one (just send me an email saying you're getting it for the S)
I learned recently that a friend works with someone, who knows someone who has one. So, we're trying to line things up so that I might have some time with it

I have the GH5S how far off would the look be to use this on them? 

Hi Sage,
Will you be offering the GH5s conversion as a free update? I have the GH5 but may sell it to get the GH5s as it would suit my needs more. But I want to get into shooting something as it looks great and also test it out.
Will the color coded engine be an app that you input the Kelvin into to get the lut? 
Sounds intriguing!

Sage, what's your take on the GH5s' colour science, how much it differs from the GH5? Are you planning to do an Alexa-matched profile for that too?

People have been asking to have an example of the Alexa conversion on HLG footage, and want to know if it is as good as VLog
It is a precision match; I finally got around to shooting a comparison, and here are the stills.
HLG, HLG with GHa Tungsten Main (no further alteration), VLog, and VLog with GHa Tungsten Main (no further alteration)
Also, something interesting and useful coming soon.