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GH5 to Alexa Conversion

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17 hours ago, hypp said:

@Sage In a previous post, someone asked

and you answered 

Is there any information about this yet? 

Not yet - the ball is in Blackmagic's court, so to speak. It seems their release is quite delayed

16 hours ago, mirekti said:

@Sage Does your LUT change only color or it also affects contrast? For example if I put a Tiffen Pro Mist filter in front of my lens would it mess it up? I was thinking of using a regular one for daylight and warming one for shade and keep the white balance in camera on daylight all the time. Does this make any sense?

Both color and contrast, and diffusion is a fantastic idea - I recommend the fractional ones. With regards to WB, it needs to be set to the light coming in. If there is a warming filter, it will change the white point, and WB needs to be set (if WB is north of 4300K, use the Day conversion, and south, the Tun). The most 'automatic' approach, so to speak, is to use AWB, and make minor corrections in post per shot as need be. Its great to film a reference neutral white card for every scene, so that WB for the key light can be picked/confirmed in post.

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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
2 hours ago, Sage said:

Its great to film a reference neutral white card for every scene

Wouldn’t this negate usage of warming filter? If I put a warming filter and then click on WB correction it should take that warmth out, right?

I mean this is just an idea I had, I know it is far from perfect compared to using a reference card. Usually shade and cloudy days need more warmth so I was thinking of using neutral filter on sunny and warming on cloudy days. I guess I’ll need to try it out. :)

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3 hours ago, mirekti said:

Wouldn’t this negate usage of warming filter? If I put a warming filter and then click on WB correction it should take that warmth out, right?

I mean this is just an idea I had, I know it is far from perfect compared to using a reference card. Usually shade and cloudy days need more warmth so I was thinking of using neutral filter on sunny and warming on cloudy days. I guess I’ll need to try it out. :)

Yes, to a large extent it will (though it will likely impact color rendition). GHa needs a neutral white balance to work. After the footage is converted, then it can be safely warmed as desired (and paired with a desat)

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6 hours ago, dxotic said:

Sage,

Thanks for updating the PDF with recommended settings plus the Waveform guides are very useful, well explained and much needed! ☝️

Sure thing, indeed the Pdf is a big step forward. I think you'll like V3 as well ;)

V3 has been in the works since July, and its a whole new ballpark

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I shot a music video this weekend, here are some stills using the new V3.

This are from HD slow motion, so there is a little loss in quality. I applied noise reduction to smooth the compression and make the grade more seamless. All was capture with CineD.

The first are with the "Main" lut and then corrected, and the second ones are my grade with LogC.

1175398524_P1077199(150191).thumb.png.d28cd418e9f58d17e7f8ab01a2ee0536.png959986369_P1077199(150191).thumb.png.87bffc22965b581aaae6dc11c15d8913.png798016545_P1077201(76769).thumb.png.7f62a9914b4aa658a50aead61cf30f79.png1723447587_P1077201(76769).thumb.png.3d2a364df522c58c965155e929ff6a0b.png515558312_P1077203(79271).thumb.png.f5e84732c27572ad2c4461eb2699b280.png1654205282_P1077203(79271).thumb.png.970fbef4cf2c97677d4884651a6a5a60.png

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Hi everyone ! What's the difference between 33x and 64x ? And also, all your manuals are for Premiere and Davinci only. Have anyone tried it with FCPX ? There are [PRE]'s for Premiere to fix, and I am wondering about FCPX, do I need to apply this [PRE] files too ? And one more question about LUT's for LogC Alexa, where I can buy it or test it ? Thanks.

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On 10/23/2018 at 11:46 AM, Sage said:

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)

625533369_AlwaysAlready.thumb.png.fce8c03bff5214491b6c05b1651f9beb.png

Hi @Sage where can we get this V3 update? Is there an email? Coz I can't remember registering for one. I remember paying with Paypal then downloading the 2 folders (Daylight & Tungsten).

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5 hours ago, ykt.net said:

Hi everyone ! What's the difference between 33x and 64x ? And also, all your manuals are for Premiere and Davinci only. Have anyone tried it with FCPX ? There are [PRE]'s for Premiere to fix, and I am wondering about FCPX, do I need to apply this [PRE] files too ? And one more question about LUT's for LogC Alexa, where I can buy it or test it ? Thanks.

33x33 and 65x65 are just container sizes essentially (someone correct me if I am wrong), meaning it allows for more robust and accurate luts the larger the lut size.  Pretty much like a codec allows for more or less bitrate. 33x is usually enough for most work but in the case of EmotiveColor it is such a highly technical and advanced lut that I am going for the 65x, plus my cpu can handle it. 

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4 hours ago, TurboRat said:

Hi @Sage where can we get this V3 update? Is there an email? Coz I can't remember registering for one. I remember paying with Paypal then downloading the 2 folders (Daylight & Tungsten).

It was in my email account I use to login to Paypal.

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7 hours ago, ykt.net said:

Hi everyone ! What's the difference between 33x and 64x ? And also, all your manuals are for Premiere and Davinci only. Have anyone tried it with FCPX ? There are [PRE]'s for Premiere to fix, and I am wondering about FCPX, do I need to apply this [PRE] files too ? And one more question about LUT's for LogC Alexa, where I can buy it or test it ? Thanks.

Indeed, I'd like to write a guide for FCPX (I'll need to get something better than a Mac Air for it). I assume it doesn't have the unique color space distortions that Premiere does, but I haven't measured it (to make PREs)

65x65x65 is eight times the resolution of 33x33x33 (cubed). The files are ten times larger, and being a fan of efficiency, I wanted to stay with 33x. It gets 90% of the way there, and combined with tetrahedral interpolation (available in Resolve), it can be very smooth. I recoded the color engine to work at 65x (which cleanly downsamples to a cubed 33x), so that the calculation could be done at this finer resolution. But I tested the 65x files against 33x, and the accurate nuance and smoothness (especially in programs with trilinear interpolation, like Premiere) of 65x was simply better. It is subtle, but I decided that the trade off of 10x larger files was minor for those who wanted the utmost in quality (personally, I will only use 65x, but the 33x option is always there)

@JeremyDulac Thank you Jeremy for the kind words! 65x all the way ;)

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11 minutes ago, ykt.net said:

@JeremyDulac And how can I get it ? 

Did you give the 65x go ahead (in the email)? I'm presently inundated with V3 emails and stuck at work, but I will get up to speed later tonight*

16 minutes ago, katlis said:

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! 

02-camel-main.jpg

Looks stunning. I quite like the warm WB as well - I wonder if it might be matched with a correction following the neutral conversion?

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7 minutes ago, Sage said:

Looks stunning. I quite like the warm WB as well - I wonder if it might be matched with a correction following the neutral conversion?

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!

 

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