katlis

Thanks! I ended up playing a bit more with the grade when I uploaded the video (below) using v2.2 as base last weekend. Although the above screenshots are from Resolve today, the final video was edited in Premiere and as I mentioned in the comments: "I always start with GHAlex as a base, followed by FilmConvert dialed down a bit. Then it's just experimenting in Lumetri for an overall grade, and adjusting luma on individual clips to get consistent exposure."
I'm limited in resolution with the free version of Resolve, but I may just have to make the switch and get the full version!
 

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! 

@katlis That looks glorious. Wish I had gotten V3 out earlier - those bright saturated yellows are other bright colors would really sing with V3 (the saturation model with V3 is on a whole new level)

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)

Hi everybody!
here i wanna share some stills from a little "fiction/experimental" project I shot with some friends. All this are graded with GHa Log-C.

Here's a quick test from tonight. 
The sequence labeled GHAlexa is PRE and GHa Daylight LUT only, no luma adjustments. 
V-Log L,  Full-HD All-I, 60p & 24p, 400 ISO, auto white balance
SLR Magic Anamorphot-40 1.33x + Polarizer
Panasonic Lumix G 25mm f/1.7
De-squeezed frame is 2560x1080.
 

Here's a quick test from tonight. 
The sequence labeled GHAlexa is PRE and GHa Daylight LUT only, no luma adjustments. 
V-Log L,  Full-HD All-I, 60p & 24p, 400 ISO, auto white balance
SLR Magic Anamorphot-40 1.33x + Polarizer
Panasonic Lumix G 25mm f/1.7
De-squeezed frame is 2560x1080.
 

Thanks for the tip! Last night I tested Full-HD All-I using the SLR Magic 1.33x anamorphic + 20mm and got some nice results. Desqueezing in Premiere nets 2560x1080 files (2.37:1). I'll try to post samples soon.

@Sage Nice work on this, I had a chance to play with them last night with my new GH5. Can't wait to shoot something interesting!  
I have a question about something you mentioned on Vimeo, saying Full-HD All-I was the best shooting mode for GH5 (slightly upscaled to 1998x1080 [1.85:1 2K]) . Can you expand on that a little? Are you saying it's just better than 4K LongGOP or 4K All-I too?