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GH5 to Alexa Conversion


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Sure; it depends on what you'd like. Fuji and BMD have very good, usable color. I personally will use P4K with GH5; I hope to have EC to do a production this summer. 8 bit is tricky; I'd prefer t

"GH5 V-Log and Hybid Log-Gamma are transformed to precisely match the color science of the Alexa, without compromise." "The GH Alex conversion completely transforms the GH5 image, addressing ever

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 mu

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The 1080p mode on the GH5 is really quite good; if like me, you are happy with a dense 2K image, then 1080p offers the most bitrate saturated options in the camera (no affect on color)

Cine-D has a slight bit depth density edge over VLog, while VLog has a slight extreme gamut edge. With 8 bit, Cine-D is decidedly better

Great work Parker and Benjamin! Alas, I've got to get the next update out..

Just finished writing one last tool that I believe will be critical for automating camera support, to do the Exp Pres (it is the fourth 'sub-section' of the ECE)

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12 minutes ago, Sage said:

Cine-D has a slight bit depth density edge over VLog, while VLog has a slight extreme gamut edge.

I assume you have specific, recommended settings for CineLikeD? I'm mostly curious how the highlight detail is with CineLikeD compared to vLogL after it's run through your process?

If I can find a GH5 at the right price, 1080p will be my mode of choice so it's good to hear that the quality is so good... especially since you can use the cheaper SD cards.

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2 minutes ago, mercer said:

I assume you have specific, recommended settings for CineLikeD? I'm mostly curious how the highlight detail is with CineLikeD compared to vLogL after it's run through your process?

If I can find a GH5 at the right price, 1080p will be my mode of choice so it's good to hear that the quality is so good... especially since you can use the cheaper SD cards.

I'm curious as well.

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With Cine-D, you'll want to set Saturation to -5, and the rest at default. Also, use ISO 200 (instead of 400; 200 is the electronic equivalent of HLG/VLog's 400).

Highlight range (and gamut) are a 1:1 with HLG/VLog, once PRE'd. Here is an overlay of samples clipping (VLog overlayed on Cine-D):

Capture.PNG.ff7e1536b0f4e20902d21815a14746b8.PNG

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6 minutes ago, Sage said:

With Cine-D, you'll want to set Saturation to -5, and the rest at default.

Including Sharpness and Noise Reduction?

6 minutes ago, Sage said:

Also, use ISO 200 (instead of 400; 200 is the electronic equivalent of HLG/VLog's 400).

I assume you mean as a base ISO and not an only ISO? Obviously, like with most cameras, it's best to stay as close to base ISO as possible.

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12 minutes ago, Sage said:

Highlight range (and gamut) are a 1:1 with HLG/VLog, once PRE'd. Here is an overlay of samples clipping (VLog overlayed on Cine-D):

And finally do you recommend a similar exposure process with CineLikeD as you do with vLogL? I haven't read your manual but I assume it's either an ETTR or a waveform exposure putting skin tones around 60 IRE... or whatever!

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Sharpness at -5 for sure. NR can be a personal preference (some are noise averse and prefer the ease of NR in cam). Though -5 would be the Arri equivalent, from a purist perspective.

Indeed, for VLog, 400 is the base. Then it goes to 200 for Cine-D, but this is just the labeling (200 really is 400, in VLog land)

Yes; lately I've been recommending the simple rule of thumb to anchor everything around the center of the waveform (leaning higher rather than lower), no matter the profile. This is because all profiles share this middle 'cross point', and diverge from there (with varying contrasts), and 50-60 is generally where midtones should place (in exposure for EC709, not for post placement). The great news is that exposure/luma is about to become a breeze, in roughly a week.

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7 hours ago, Sage said:

The great news is that exposure/luma is about to become a breeze, in roughly a week.

I'm really curious what you came up with :) Right now im using CST's to linear and back to do my pre-GHa exposure. Looking forward to your solution!

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54 minutes ago, seku said:

I'm really curious what you came up with :) Right now im using CST's to linear and back to do my pre-GHa exposure. Looking forward to your solution!

There is a lesser known one node solution to this: https://www.eoshd.com/comments/topic/41483-the-video-that-shows-blackmagic-pocket-4k-raw-image-quality-is-same-as-gh5s-400mbit/page/4/?tab=comments#comment-336234

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They are Exposure Pres, conversions made with the same interpolation system as the other conversions (converting color in the mix). Its a lot of fun to use in conjunction with the conversion. The P4Ka workflow video shows it in action in Resolve, though it applies to every NLE (and the Posts, which are an essential part of the picture):

They may be stacked in order of greatest to least, and all may be used in conjunction with gain key/opacity to dial in an exact value (Post or Pre).

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On 1/28/2020 at 2:23 PM, mercer said:

After watching a lot of Netflix's original programming, I have a growing fondness for that modern, Red look and redcode color science. So, yes that is a great compliment and makes the GH5 a little bit more appealing to me... maybe @Sage can create a GHred workflow in the future. In my opinion, this seems more appealing than making an Alex version for every camera on the market.

Can you share the video you showed the director from the TV station?

Here it is:

 

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  • 2 weeks later...

@Sage On the V4 documentation in your website, under Post-workflow, it says that "1. If you recorded to Cine-D (Sat -5), HLG, or VLog to ProRes/DnxHD on an external recorder, apply the appropriate [PRE] file to the first node to convert to normative VLog in advance of the color conversion."

Currently I'm shooting 10bit 4:2:2 HD 200Mbps ALL-I in camera, but converting it to 10bit 422 DNxHD (with the great "V6" tool by Wayne Norton) before bringing them into Resolve, as Resolve doesn't recognize the straight-out-of-camera GH5 10bit files... Do I still need to apply the [PRE] file in my workflow as my files are now in DNxHD codec inside Resolve? Sorry if this is a silly question, but I'm still trying to truly understand how the different codecs work and where data / video levels come in.

 

Also, when can we expect the V4 update in mail? :) Or were they sent already and my mailbox blocked it?

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