kye

This is very interesting to me. What kind of performance do you get with and without it enabled? I would imagine there would be a performance hit when running it (as the BM hardware solutions would also impose I imagine).

Yeah, I wanted extra low light and almost went with an A7III partly for that reason. I ended up with the GH5 and am really happy with what I am getting precisely because of the Voitlander 17.5mm 0.95 prime on it. The night city portraits are spectacular and I'm super happy with the combination, despite the GH5 not really being a low light star.

A lot of the first footage from the camera was hand-held and had that shaky look. I'm not a fan of it (which is why I got the GH5) but it's an aesthetic that some people like I guess. It also depends on how shaky you are, if you practice a lot then you can get gimbal-like results from lens IS, but you'd have to work at it. I think working out what aesthetic elements you like and don't like is a big part of film-making. I've worked out that I don't like non-stabilised hand-held, but I do like wide apertures, wide DR and the inaccuracies involved with MF are also kind of charming in a human/imperfection kind of way. It's an art after all, not a science

Have a nice life dickhead. Blocked.

This is an interesting question and I did some googling and I think it said that HLG is rec2100, but maybe I didn't understand that correctly. Does anyone know for sure?

Who said screen grab? You seem very quick to point fingers at other people here, so before doing it maybe you should learn to pay more attention. You might learn something.

It's definitely a 'look' but as @Deadcode says it's quite achievable with the hue vs hue curve to push the skintones together a bit and lessen the hue spread. Also worth paying attention to is the saturation as that's quite controlled too. It's worth pulling a still into Resolve and with a tiny window having a look around the face to see which bits make up the overall vectorscopes above. Personally, when I first saw them I was quite surprised at how yellow and processed they looked and while I've gotten used to the look since then it's still quite a strong look for my eyes. Apart from lighting I think that the hue can vary depending on the person too Sick or not there's lots of variation.

Yep.. that's right, sorry I should have said. Specifically the line in Resolve. Theres a bit of a debate about if it's the skin colour line or just an indicator, but the point is that skin tones actually vary wildly in hue depending on lighting conditions. The idea that skin tones should be on the line are shot down pretty quickly on the grading forums. The top row are from the ARRI video, and the bottom row are from other videos that got good reception. Here are a bunch of vector scopes from the ARRI video - notice the highly, highly, highly controlled skin tones! These are a couple from the C200 demo video (IIRC) and note the more spread out line, and also that the line is between the indicator line and the Red reference box, and even slightly beyond the red in certain areas.

Some time ago I compared the skintones from the ARRI LF and C200 demo videos and the ARRI skintones were on the line or to the yellow side and the Canon ones were spread between the line and magenta reference point.

The 25p has a bit more data per frame than the 50p, and IIRC the MXF has a higher bitrate than the MP4, but probably the best thing to do is run some tests yourself and see how it performs. I'd suggest doing a side-by-side test that includes skin tones and do shots that are normally exposed, one stop over and one stop under, then grade them and you'll get a bit of a feel for how they push around in post. I used to setup the camera so that the first resolution option was 4K 305mbps, the second was 50p MXF, and the last was 25p MP4. I'd use the 4K for most things, 50p for slow motion, and the mp4 for long shots like time lapses or whatever where the quality doesn't matter much but file sizes did. After I did a grading test that included a mixed-lighting shot in c-log 50p and brought up the shadows a bit I was pretty crushed at how awful it looked. I then did a slow-motion test of 4K25 slowed to 50% using Optical Flow vs the 50p MXF and decided to never use the 1080 modes again But if you expose normally then it should be fine I found that a 4-stop ND was enough to get 180degree shutter even with the sun in frame, so 2-stops should be fine

@henricus greetings from Australia! The XC10 is a lovely video camera, welcome to the club! My recommendations are to shoot 4K if you can handle the file sizes, or 1080 24/25 fps if you can. Shoot C-log at the lowest ISO you can - ISO performance isn't great but it also adds temporal NR at the higher ISOs which is where the ghosting comes from (something I've never seen in real life BTW). The slow-motion mode isn't good quality at all, especially if you're shooting C-log or will need to grade much, as it's highly compressed 8-bit. Keeping the 180degree shutter is only an aesthetic choice I think. If you're shooting C-log then a simple conversation with the Canon C-log to rec709 LUT and then basic grading using the lift/gamma/gain controls should give excellent results. The focus peaking isn't that precise so I'd suggest using the punch-in if you're using MF button, otherwise autofocus works quite well and I found it to be accurate. I like getting a bit more separation in my shots than the XC10 provides so I've moved to the GH5 with primes, but apart from that aspect the camera was a joy to use. Enjoy!

Have you had a look at the BM documentation? They have a document called something like the "hardware guide" for Resolve, it steps through all the different combinations and gives specific advice on things. It's not a complete answer to every question but it's a good place to start.

It's kind of a funny thing because I get mixed feedback about how much the different world's are aware of each other. I can push the point here with people who don't seem to have worked in the industry and not get anywhere, or also have strange feedback from people here who don't seem to understand that you can get cinematic footage without using a grey-card to manually WB or set manual exposure with histograms or false colour, and even if my gopro could do that it wouldn't be practical to do that for every shot when I'm swimming in a lake underneath a waterfall! The guys over at LGG assured me that they were aware of how compromised the real-world shooting conditions are for one-person operations or low-budget productions, especially if there's travel or uncontrolled situations involved, so I think it's an awareness thing and that will range from person to person. Personally, my journey with film started about 20 years ago when I got involved in film through my sister who went to film school and I helped her co-produce a few short films, as well as helping on set and in post with my home recording studio I had for making my own music. I did a producers course, we got a couple of film grants and did the local festival circuit for a few years before she moved away and I let it go. It was only a year or so ago that I swapped over from photos to video for family and travel adventures and I started editing video myself and started learning the specific skills that I didn't have. A few people have been confused by me talking about how a film set is run when on the other hand I look like an amateur moving from photos to video. We all have our own combination of experience and skills. At least we don't have the constant barrage of new people coming in and asking the same questions (that are answered really clearly in the manual) over and over again like they do on the BM Resolve forums!

Yes. But, "ever" is a really long time.

The GH5 is one of those cameras where far more people own one (or more) than are visible from forum posts and YT reviews etc. They are workhorses. Even if no more MFT cameras or lenses are released ever again there will still be many thousands of users making millions of videos per year for the next 5+ years. 4K 10-bit isn't going anywhere soon. There are major networks in the US who still shoot 1080 and broadcast 720, and people watch YT on their phones. My recommendation is to work out exactly what features you require in a camera system, to review your options and then go buy what you need. If you aren't sure about a GH5 vs something newer then that means the GH5 already meets your requirements and so you're just tempted by shiny toys of new cameras. At the end of the day, a camera is a tool to make stuff. Either buy a GH5 and stop worrying about what's around the corner and go make stuff, or keep what you have and stop worrying about what's around the corner and go make stuff. If you're worried about the resale value of the camera then maybe stick with the camera you already own and go buy stocks instead - tech is the worst investment possible

This page is very useful for working out lens mounts! http://camera-wiki.org/wiki/Lens_mounts

I'd watch his equipment reviews but suggest there are more experienced colourists you can learn from. When I said earlier I had to un-learn things, many of them were from Aram.

This channel has a bunch of interesting stuff for free: https://www.youtube.com/user/LearnColorGrading/videos

Yeah, that's my problem too. I know how to drive Resolve and what curves and the other controls do, what I don't know is what to do to take a shot and make it look great. My next push might be to find some before and after shots done by skilled colourists and try and replicate their grades. When people do the before/after wipe in their showreel that might be something I can emulate. Especially when they do a few wipes showing how they built the grade.

Looks like some serious CA around the highlights. Is there also some around the girls face? (It looks like there is a red flare there?)

Chris Hall - Anatomy of a Grade series: https://vimeo.com/chrishallcolor Serious grades including a Day for Night conversion. Colour grading The Hobbit: https://lowepost.com/color-grading/case-studies/the-hobbit-r4/

Sites and resources: The first place to look for Resolve info is the 1000+ page manual, which is excellent. It answers most questions if you're learning Resolve. BM forums for Resolve: https://forum.blackmagicdesign.com/viewforum.php?f=21 There are people there who use Resolve all day every day, as well as newbies asking the same questions over and over.. a great resource. LiftGammaGain.com forums are the best place to find professional colourists.. https://www.liftgammagain.com/forum/index.php LGG sub-forums of particular interest are: Colour: https://www.liftgammagain.com/forum/index.php?forums/color.9/ Looks: https://www.liftgammagain.com/forum/index.php?forums/looks.49/ Resolve: https://www.liftgammagain.com/forum/index.php?forums/resolve.36/ Lowepost is some excellent free articles and good (but not very busy) forums: https://lowepost.com Intermediate Codecs comparison table (very useful reference for proxies etc) https://blog.frame.io/2017/02/13/50-intermediate-codecs-compared/ PostPerspective is about post-production and has some interesting colour articles: https://postperspective.com PremiumBeat has some interesting articles: https://www.premiumbeat.com/blog/ MixingLight is a paid site but has some free resources worth checking out: https://mixinglight.com LUTcalc is a plugin that generates LUTs for converting between colour spaces and gammas, and although in Resolve I'd recommend using the Colour Space Transform OFX plugin over a lut (the plugin doesn't clip data like LUTs do) this LUT generator has a few colour spaces that the Resolve plugin doesn't have, eg, GoPro, so it has its uses: https://cameramanben.github.io/LUTCalc/LUTCalc/index.html

There are awesome resources for colour grading and Resolve techniques out there, but they're scattered around the place, and are hard to find. Please post anything awesome you find. (Note: for those that are new to Resolve or colour grading, there are lots of YT "colourists" who have very little actual knowledge. These people provide a steady stream of bad habits, misleading and flat-out wrong information. There are exceptions, but on the whole you should be very suspicious of people selling LUTs and pumping out video after video - most of these people are professional LUT salespeople and/or YouTubers and not professional colourists!) Juan Melara is excellent. If you watch all the below you'll get a sense of how he uses Resolve, especially the Colour Space Transform plugin and which tools in Resolve are designed to work in which colour spaces.

I would imagine there would be additional grading. The GH5 + GHa LUT is equivalent to an Alexa with Rec709 LUT. Most people would add a complete look after the rec709 conversion if they shot Alexa, so the same applies here I think. To get you to sign up. Everyone wants you to sign up because then they can market to you. It's a PITA to sign up, so they have to offer some kind of reward.

I registered there in Jan this year, still haven't been approved. I kept tabs on it for a couple of months, and people who registered after me became common around the place, I figured that they didn't want new users and gave up. Having good moderation on forums is critical, and if you're so incompetent that you can't approve new users then your forum isn't worth any of my time.