Jump to content
Sage

GH5 to Alexa Conversion

Recommended Posts

EOSHD Pro Color for Sony cameras EOSHD Pro LOG for Sony CamerasEOSHD C-LOG and Film Profiles for All Canon DSLRs

It took me some time to read the whole thread, and of course this was too much info to comperhand at once. First of all, great work, it looks really nice. Now my questions:

1. I noticed some were using these LUTs with GH5S, but you have also mentioned one should email you in case when GH5S was used. Is this still the case? I mean is there GH5S version?

2. I was thinking of using V-Log recorded externaly to Atomos ProRes HQ at 4k 24fps, and 1080 at 120fps internally, but coudn’t conclude what was concensus on 120fps Vlog 8-bit or Cinema-D?

3. What about HLG, is it still less prefered than V-Log?

4. Finally, should one overexpose for V-Log 10bit 4k 24fps and if so how much, two stops? Also, for 120fps, how to expose for Cinema-D and how for V-Log 8 bit?

5. Ah, I do have one more. Are there monitoring LUTs available for all modes?

 

Thanks and cheers!!!

 

Share this post


Link to post
Share on other sites
On 9/6/2018 at 7:09 PM, JeremyDulac said:

A few test stills showing some daylight and mixed lighting - I also posted a couple different exposure of shot to show clipped highlights. I have finally developed my node structure in resolve to a powergrade with the olpf, the hue passthrough and my extra contrast added after GHa in LAB colorspace. Seeing as I how I haven't convinced work to invest in Pansonic(they use sonys sadly) I will hopefully have my first personal shoot coming up to really put GHa through its paces. Loving this conversion!

  

 

 

 

 

Untitled_1.32.1.png

Untitled_1.20.1.png

Untitled_1.14.1.png

Untitled_1.40.2.png

Untitled_1.51.2.png

Untitled_1.53.1.png

Untitled_1.66.3.png

Untitled_1.123.1.png

Untitled_1.65.2.png

 

Untitled_1.30.3_1.30.3.png

Untitled_1.30.3_1.30.4.png

@JeremyDulac It's just stunning. Very impressed with the results. Can I asked which lense you used -& filtration- ? 

I'm new here and I've been actually working with an Alexa Mini for quite a long time. I heard about Emotive Color yesterday, did some research and I still can't believe how organic the footage look with the conversion. Congrats @Sage, I'm definitely buying it.

Share this post


Link to post
Share on other sites
On 9/6/2018 at 11:09 AM, JeremyDulac said:

A few test stills showing some daylight and mixed lighting - I also posted a couple different exposure of shot to show clipped highlights. I have finally developed my node structure in resolve to a powergrade with the olpf, the hue passthrough and my extra contrast added after GHa in LAB colorspace. Seeing as I how I haven't convinced work to invest in Pansonic(they use sonys sadly) I will hopefully have my first personal shoot coming up to really put GHa through its paces. Loving this conversion!

 

 

 

 

 

Untitled_1.32.1.png

Untitled_1.20.1.png

Untitled_1.14.1.png

Untitled_1.40.2.png

Untitled_1.51.2.png

Untitled_1.53.1.png

Untitled_1.66.3.png

Untitled_1.123.1.png

Untitled_1.65.2.png

 

Untitled_1.30.3_1.30.3.png

Untitled_1.30.3_1.30.4.png

I would love to see how you got it to look this good! Still trying to figure out some things. Hopefully that tutorial Sage was talking about will drop soon. Great work!

Share this post


Link to post
Share on other sites
12 hours ago, mirekti said:

It took me some time to read the whole thread, and of course this was too much info to comperhand at once. First of all, great work, it looks really nice. Now my questions:

1. I noticed some were using these LUTs with GH5S, but you have also mentioned one should email you in case when GH5S was used. Is this still the case? I mean is there GH5S version?

2. I was thinking of using V-Log recorded externaly to Atomos ProRes HQ at 4k 24fps, and 1080 at 120fps internally, but coudn’t conclude what was concensus on 120fps Vlog 8-bit or Cinema-D?

3. What about HLG, is it still less prefered than V-Log?

4. Finally, should one overexpose for V-Log 10bit 4k 24fps and if so how much, two stops? Also, for 120fps, how to expose for Cinema-D and how for V-Log 8 bit?

5. Ah, I do have one more. Are there monitoring LUTs available for all modes?

 

Thanks and cheers!!!

 

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

Share this post


Link to post
Share on other sites

Hey guys, sorry for the delay. I'm deep in technical at the moment. I can be reached directly via email

On 9/12/2018 at 8:39 PM, mercer said:

So, how clean are the blacks with GHa? 

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

13 hours ago, mirekti said:

It took me some time to read the whole thread, and of course this was too much info to comperhand at once. First of all, great work, it looks really nice. Now my questions:

1. I noticed some were using these LUTs with GH5S, but you have also mentioned one should email you in case when GH5S was used. Is this still the case? I mean is there GH5S version?

2. I was thinking of using V-Log recorded externaly to Atomos ProRes HQ at 4k 24fps, and 1080 at 120fps internally, but coudn’t conclude what was concensus on 120fps Vlog 8-bit or Cinema-D?

3. What about HLG, is it still less prefered than V-Log?

4. Finally, should one overexpose for V-Log 10bit 4k 24fps and if so how much, two stops? Also, for 120fps, how to expose for Cinema-D and how for V-Log 8 bit?

5. Ah, I do have one more. Are there monitoring LUTs available for all modes?

 

Thanks and cheers!!!

 

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

5 hours ago, Téodor Spencer said:

@JeremyDulac It's just stunning. Very impressed with the results. Can I asked which lense you used -& filtration- ? 

I'm new here and I've been actually working with an Alexa Mini for quite a long time. I heard about Emotive Color yesterday, did some research and I still can't believe how organic the footage look with the conversion. Congrats @Sage, I'm definitely buying it.

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

roshverde.thumb.jpg.699082bdeb850053ef94f1ba31e729ca.jpg

?

ROSHAN.thumb.png.272ef9ced4f1810098de8c673efe034d.png

 

Share this post


Link to post
Share on other sites

@Ryley K @Téodor Spencer  Hey thank you both! Ummm for lenses these were all from either an old Nikon 28mm 2.8  and a 35mm 2.4 Zeiss Flektogon - I always use a black pro mist 1/8 on all my footage. I don't do too much to get to this look - I follow Alex's methods, adding his olpf simulation on the front end. I then use his curves recommendation  with the 'hue pass-through' method. After that I add some extra contrast and saturation in LAB colorspace to give some extra color separation and then add some film grain. 

Alex has done something truly incredible with this lut in my opinion - He has totally flipped the idea of what a lut is capable of on its head.  

Share this post


Link to post
Share on other sites
22 minutes ago, mirekti said:

I have just purchased the pack, but cannot find anything Verde inside. Am I missing something?

Thanks.

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)

Share this post


Link to post
Share on other sites
7 hours ago, Sage said:

No S yet, I'm still completely occupied with updating the 5; in any case if I get to it, you will get it

5 and 5S nicely compliment each other. It would really be great to have it for both.

However, I am not sure how many of your buyers have 5S, and it has built in OLPF, different sensor and cannot asses how much extra work this is for you. I just hope it is high on your list once you’re done with 5. :)

Thanks and cheers!!!

Share this post


Link to post
Share on other sites

@Téodor Spencer These are all using a standard, non-speedbooster adapter. I just got a viltrox woohoo!! Some frames are 4k but most are 2k - but all 4k files were down res’d to 2k. Its cool you get the 16mm vibe too - ive always found the soft and main have very film like saturation response and separation. Add a bit of grain and bring down the blacks and thats pretty much all i do! 

Share this post


Link to post
Share on other sites
21 hours ago, Téodor Spencer said:

@JeremyDulac Thanks for your answer ! So you are using an adapter right ? Are you shooting 2K ? 
The aesthetic out of your frames definitely has a super 16 feel, it's very exciting. 
@Sage is there a FB group for the community ? 

PLEASE NOOOO, anything but facebook or twitter!

Share this post


Link to post
Share on other sites
22 hours ago, JeremyDulac said:

@Téodor Spencer These are all using a standard, non-speedbooster adapter. I just got a viltrox woohoo!! Some frames are 4k but most are 2k - but all 4k files were down res’d to 2k. Its cool you get the 16mm vibe too - ive always found the soft and main have very film like saturation response and separation. Add a bit of grain and bring down the blacks and thats pretty much all i do! 

Yeah! the Vlltrox adapters are really good. I have the EF-M2 (the focal reducer) and it's great, really sharp and cheap!

The 16mm vibe it's there. I have tested the GH5 with a super 16mm, a Som Berthiot Pan Cinor 17-85 f2 lens. And there is some magic when added with this Luts.

Share this post


Link to post
Share on other sites

@Wild Ranger that is awesome! Those old c mount lenses are gorgeous. Did you get any kind of vignetting since the gh5 sensor is bigger? Did you use a viltrox adapter or regular? I had my eye on a 16mm 1.8 c mount but read there would be some vignetting. I really would love to build a collection of Russian Kern c mounts.

Share this post


Link to post
Share on other sites

@Sage can you post another link to the manual? I know it is somewhere in this thread but I can’t read through the entire thing again and I don’t see it on your website. 

6 hours ago, JeremyDulac said:

@Wild Ranger that is awesome! Those old c mount lenses are gorgeous. Did you get any kind of vignetting since the gh5 sensor is bigger? Did you use a viltrox adapter or regular? I had my eye on a 16mm 1.8 c mount but read there would be some vignetting. I really would love to build a collection of Russian Kern c mounts.

Kern’s are Swiss, but as a general rule anything over 25mm SHOULD cover the sensor. It gets a little more complicated when you try TV lenses, then you need to look for ones that are for 1” sensors. With the G7 and GX85 I was able to get full coverage with 12.5mm Fujinon and Canon 1” TV lenses but those cameras had a slight 4K crop.

Share this post


Link to post
Share on other sites
11 hours ago, JeremyDulac said:

@Wild Ranger that is awesome! Those old c mount lenses are gorgeous. Did you get any kind of vignetting since the gh5 sensor is bigger? Did you use a viltrox adapter or regular? I had my eye on a 16mm 1.8 c mount but read there would be some vignetting. I really would love to build a collection of Russian Kern c mounts.

I did use a C-mount adapter for that one, for my other lenses I use the Viltrox with EF mount. The super 16 gives a lot of vignetting, I used it with the 4:3 4k mode and also the EX-tele converter, those two modes gives the exact crop for a super 16mm sensor.

Here a frame in native 4:3 mode.

549908403_TestPancinor(Final)(03206).thumb.png.a2fee1be6f2b69759034151ab9b9017f.png

Share this post


Link to post
Share on other sites

Im running into an odd issue, When I record recording with a ninja atomos now.

So, Prores in Premiere.

I add the Prores Pre into the Basic, then Daylight or soft in the creative. But once that is done, my levels will stop at 80 IRE, nothing will go past it.

 

Screen Shot 2018-09-19 at 11.24.23 AM.png

Share this post


Link to post
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.
Note: Your post will require moderator approval before it will be visible.

Guest
Reply to this topic...

×   Pasted as rich text.   Restore formatting

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.


×
×
  • Create New...