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Andrew Reid

Panasonic GH5 - all is revealed!

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No idea, though I keep purchasing the Lemming LUT, and some others, I have actually not used any of them.

The Alexa stuff from Sage looks good too, BTW...

Perhaps one day, I will have the time to play and learn some more about these.

As it is, my demanding, high pressure full time+, job keeps me down, sigh...

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EOSHD Pro Color for Sony cameras EOSHD Pro LOG for Sony CamerasEOSHD C-LOG and Film Profiles for All Canon DSLRs
11 hours ago, mirekti said:

Thanks. Once this is set I simply apply Lemmings LUT i.e. there is no some kind of collision between the these two actions (ColorSpace setting and Lemming LUT)?

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

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1 hour ago, mirekti said:

This could sound silly, but why is this done? Is there something out there that I should prefer to go to LogC? 

You've got GHa, which includes the 'LogC' variation. This is different from color management in that it is a measured conversion that specifically matches the end result of GH5 color sci to the end result of Alexa color sci, capturing sensor and WB+light source results (just like the HLG to VLog). This is a lot more accurate in terms of color and rolloff. The subsequent film conversion, which would have been made to an Alexa end result, will be a lot more accurate as a result.

LogC, in itself, is ideal for film conversions, because they have kept it rigorously defined since the camera's initial release, and companies tend to put their best efforts into supporting Arri, while other cameras are unsupported or roughly so. For example, Panasonic's VLog implementation shifts with each camera.

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19 minutes ago, Sage said:

You've got GHa, which includes the 'LogC

Sorry, but still a bit confused here. When I capture in vLog then I simply apply GHa Daylight for example, but I could also go from vLog to LogC (without applying Daylight), and then find LUTs for LogC and apply them on top of it, is that the point?

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19 minutes ago, mirekti said:

Sorry, but still a bit confused here. When I capture in vLog then I simply apply GHa Daylight for example, but I could also go from vLog to LogC (without applying Daylight), and then find LUTs for LogC and apply them on top of it, is that the point?

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

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Hey Everyone,

I hate to keep posting in this topic, but I don't want to start anything new as it seems this is where everything GH5 is. I've been asking and researching around for months trying to figure out what is best for me and I still had a few questions and wanted to get everyones take. 

1. I really need a camera with no recording limits and clean HDMI out for streaming to replace my old Canon XA10 camcorder. So after tons of research, it came down to c100 (I or II) or GH5.

2. I also currently use my canon 6d2 for my run and gun video and have lots of Canon Glass. (was planning on replacing with EOS R, but that's another story at the moment)

3. My initial thought was to get a c100 as the A cam for all event stuff and continue to use my 6d2/EOS R as run and gun.

4. Then I did 100 hours of research on GH5 thinking maybe it could replace BOTH cameras with the speedbooster (Metabones or other) for my canon glass to do events, interviews, etc, and get a native Panasonic 12-35 f/2.8 for the dual IS for run and gun. compact and easy package. 

5. My biggest issues and questions.

- Will I be disappointed in GH5 color vs Canon, regardless of functions. 
- Will the speedbooster work well enough with my glass, and which brand and multiplier?
- are the native Panasonic Lenses worth buying at all. is the 12-35 good and with Dual IS, or should I just use a canon 24-105 f/4
- Will the autofocus be as good as Canon for the run and gun. Not needed as much for events as I usually man focus for the stage. 

Notes. regardless. I will be keeping my Canon 80d at least for home photo/video use plan to keep most of my Canon glass. I won't shoot 4k 99% of the time due to fast and easy delivery of content.

My budget can handle a GH5, Speed booster and the 12-35, but that is about it without selling some other gear. 

Thanks so much. Just so nervous about using another system


 

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4 hours ago, Sage said:

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

Now I have a question!

Would these two workflows provide the same colour and gamut?

  1. ARRI Alexa recording in LogC -> standard LogC to Rec709 conversion
  2. GH5 in HLG -> HLG (Pre) LUT -> Main LUT

If so, then in theory these two would also be the same:

  1. ARRI Alexa recording in LogC -> LogC to Rec709 conversion via a film conversion LUT in Resolve
  2. GH5 in HLG -> HLG (Pre) LUT -> Main LUT -> Rec709 to LogC conversion -> LogC to Rec709 conversion via a film conversion LUT in Resolve

Or have a missed something?

There are a bunch of LUTs that expect a LogC input and this seems like the best way to get a LogC output while still maintaining the Alexa 'look'.

3 hours ago, BrunoLandMedia said:

Hey Everyone,

I hate to keep posting in this topic, but I don't want to start anything new as it seems this is where everything GH5 is. I've been asking and researching around for months trying to figure out what is best for me and I still had a few questions and wanted to get everyones take. 

1. I really need a camera with no recording limits and clean HDMI out for streaming to replace my old Canon XA10 camcorder. So after tons of research, it came down to c100 (I or II) or GH5.

2. I also currently use my canon 6d2 for my run and gun video and have lots of Canon Glass. (was planning on replacing with EOS R, but that's another story at the moment)

3. My initial thought was to get a c100 as the A cam for all event stuff and continue to use my 6d2/EOS R as run and gun.

4. Then I did 100 hours of research on GH5 thinking maybe it could replace BOTH cameras with the speedbooster (Metabones or other) for my canon glass to do events, interviews, etc, and get a native Panasonic 12-35 f/2.8 for the dual IS for run and gun. compact and easy package. 

5. My biggest issues and questions.

- Will I be disappointed in GH5 color vs Canon, regardless of functions. 
- Will the speedbooster work well enough with my glass, and which brand and multiplier?
- are the native Panasonic Lenses worth buying at all. is the 12-35 good and with Dual IS, or should I just use a canon 24-105 f/4
- Will the autofocus be as good as Canon for the run and gun. Not needed as much for events as I usually man focus for the stage. 

Notes. regardless. I will be keeping my Canon 80d at least for home photo/video use plan to keep most of my Canon glass. I won't shoot 4k 99% of the time due to fast and easy delivery of content.

My budget can handle a GH5, Speed booster and the 12-35, but that is about it without selling some other gear. 

Thanks so much. Just so nervous about using another system

I am not an expert, but the AF is the weak point of the GH5.  It depends on how you use it (Single AF is fine, it's the continuous AF that's not always reliable).

My understanding is that the colour science is fine, but this is something that is very subjective and you might be looking for something specific.  I'd look for yourself and make sure you're happy with it.

Having said that, I have both an XC10 (which shoots 8-bit 305Mbps C-Log) and a GH5, so if you want me to film something with both then I can send you a frame SOOC for you to grade and compare if you really want to examine the colour science yourself.

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Easy for anyone to suggest something. . But I would go C100 with the DPAF option, as the A cam, and keep the 80D for the B cam and use it for daily, personal use. On average you can use the same lenses on both and the Color Science will match. And Both will have DPAF. Win Win. Now if you Need 4K isn't going to work. But do you Really need 4k? 1080p on the C100 is as good as 4K on most cameras. The 80D, ehh not so much.

No way the non native lenses you have will work good on the GH5 or the AF as good., not counting you will never match the CS to each. Not easy to go with two different manufacturers and have it work out well.

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5 hours ago, kye said:

Now I have a question!

Would these two workflows provide the same colour and gamut?

  1. ARRI Alexa recording in LogC -> standard LogC to Rec709 conversion
  2. GH5 in HLG -> HLG (Pre) LUT -> Main LUT

If so, then in theory these two would also be the same:

  1. ARRI Alexa recording in LogC -> LogC to Rec709 conversion via a film conversion LUT in Resolve
  2. GH5 in HLG -> HLG (Pre) LUT -> Main LUT -> Rec709 to LogC conversion -> LogC to Rec709 conversion via a film conversion LUT in Resolve

Or have a missed something?

There are a bunch of LUTs that expect a LogC input and this seems like the best way to get a LogC output while still maintaining the Alexa 'look'.

Ah, by Main I'm referring to the end in itself of Alexa color. If a film conversion route is the goal, the LogC variation is the way to go.

Main is different from LogC+R709 - its much nicer. It has the R709 primaries built in, and a film styled envelope that is often associated with Alexa color.

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2 hours ago, FoxAdriano said:

Hi, I will reach Africa and I need to buy a good ND filter for my GH5. I take only video. Do you know if there is a a 62mm ND filter among Nisi, Breakthrough and Syrp? I need 6 stop. I trust these brands. Thanks for some info

Formatt Hitech 62mm Firecrest ND 1.8 Filter (6 stop). They work great

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