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GH5 to Alexa Conversion


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On 6/15/2020 at 12:38 PM, deezid said:

Hoping you can figure it out.
Both the S1 and S1H look exactly the same color-wise. Same sensor, same gamut/gamma, the S1 is just a tad sharper because of the missing OLPF.

Would love to see a proper conversion for full V-Gamut, although the official V35 conversion is quite good already. 

Will do; that's a relief!

On 6/16/2020 at 3:38 AM, austinchimp said:

Yes GHa works very well on my S1 and S1H files using Premiere. I haven't seen a real difference between the two cameras in terms of colour. If I were using Resolve I'd probably go with a color transform node and get it into Arri space or something, but I prefer Premiere so I just drop the Lut over my footage. Generally I need to reduce the exposure on the footage to get the Lut looking good.

I tried loading the monitoring LUT into the camera, but it looked awful - probably because the S1 is a different camera to the GH5 obviously.

I also tried the native Panasonic LUTs on the footage, but GHa looks a million times better. I like the Linear version personally, then grade from there.

Of course I'd love a proper S1 version of GHa too! I think that would be phenomenal... Looking forward to a monitoring lut that works with the S1

The challenge with in-cam monitoring (at least on the GH5) is that the interpolation with 17x is the worst I've seen. I remember hearing the S1/H could accept 33x, is that so?

On 6/19/2020 at 2:00 AM, thebrothersthre3 said:

How does the light work in mixed lighting conditions. Say daylight coming in from windows and interior tungsten lights? @Sage

This is an area that I want to spend some time studying once a few things are finished. There is variance; the Alev sensor has been said to be tuned between the photosite dyes, UV/IR filter and color sci to have more consistent results across different light sources (there used to be a blurb on their site about this, the old Classic page). The conversions are inherently light source specific (i.e. sunlight or halogen)

On 6/20/2020 at 11:25 PM, GabrielFF said:

I’ve still been playing around with the X-T3 and Emotive Color using a CST in Resolve. Results are pretty good, but it just makes me even more excited for eventual native F-Log support.

Count me in!

xt4c.thumb.png.2ce55dd2166df819542adfd0ed03e526.png

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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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Funny timing as I just traded my GH5S for an S1H. I'm working with the S1H in pure VLog and it's way easier to get pleasant color than the GH5 was in VLogL (again, thanks Sage for saving the GH5 for me).

I'm very curious as to how different an GHa-esque S1HVLog->ARRILogC LUT would be from the standard Color Space Transform of V-Gamut/V-Log->ARRIAlexa/ARRILogC. The CST is entirely usable though, so I'm less desperate than I was with the GH5 especially since highlight rolloff is so much nicer to begin with.

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Hi everyone,

Assuming I really need to shoot 60p with the GH5 and in order to get the best results with GHa, should I shoot 4k CINE-D 8-bit 150Mbps or 1080 CINE-D 10-bit ALL-I?

I remember @Sage addressing (probably on reddit)  the use of the 4K 8-bit 150Mbps codec but I can't remember if it was in a good or bad way.

Is there a noticeable difference? it's always nice having that 4k resolution to punch in and re-frame but  I rather shoot 1080p ALL-I if it holds better .

Thanks in advance.

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On 6/22/2020 at 7:48 AM, PannySVHS said:

S1, S1H, count me in. Wouldnt mind Cind D and HLG to VLOG conversion for free as well:) GHA for S1 I would buy if possible to transfer the high quality of the GH5 and BMPCC 4K versions. BM version looks esp spectacular!

There will be PREs if the codec is lacking for the main log format; only the Cine-D Pre would be needed, but I like that HLG on the GH5 could use the default saturation setting.

The standard bar is absolute for each new camera; I'd like to do a comparison in the future, wherein the same subject is filmed with every camera. Here are the Alexa, P4K, and GH5, with the most recent conversions/EC709:

A1.thumb.png.0d2fc29c2f121b5398b56cd67e462319.pngP1.thumb.png.9b620829d1483162986daf4ea8b725f4.pngG1.thumb.png.7a86e99b90e9b00beda0acbc12039039.png

A2.thumb.png.385ad4606f668a08a3184e0f192abd91.pngP2.thumb.png.436c6d9820a7f3974018ea94ee5aa7c2.pngG2.thumb.png.4dc9cb41a70f6bbf538c330fbcd15ae3.png

On 6/23/2020 at 1:11 AM, Neufeldt said:

Funny timing as I just traded my GH5S for an S1H. I'm working with the S1H in pure VLog and it's way easier to get pleasant color than the GH5 was in VLogL (again, thanks Sage for saving the GH5 for me).

I'm very curious as to how different an GHa-esque S1HVLog->ARRILogC LUT would be from the standard Color Space Transform of V-Gamut/V-Log->ARRIAlexa/ARRILogC. The CST is entirely usable though, so I'm less desperate than I was with the GH5 especially since highlight rolloff is so much nicer to begin with.

It will interesting to see; I hope to explore it soon!

On 6/26/2020 at 6:28 AM, Molas said:

Hi everyone,

Assuming I really need to shoot 60p with the GH5 and in order to get the best results with GHa, should I shoot 4k CINE-D 8-bit 150Mbps or 1080 CINE-D 10-bit ALL-I?

I remember @Sage addressing (probably on reddit)  the use of the 4K 8-bit 150Mbps codec but I can't remember if it was in a good or bad way.

Is there a noticeable difference? it's always nice having that 4k resolution to punch in and re-frame but  I rather shoot 1080p ALL-I if it holds better .

Thanks in advance.

All-I will give you a codec advantage over 8-bit 60 (and 10-bit 150mbps 24). There is less macroblocking and denser color gradients. The exception is 1080p 100 Long, which was similar to All-I in my gradient motion test. 1080p on the GH5 is very detailed (at the limit of 1080). Cine-D is better than VLog for 4K 8-bit

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On 6/21/2020 at 5:25 AM, GabrielFF said:

I’ve still been playing around with the X-T3 and Emotive Color using a CST in Resolve. Results are pretty good, but it just makes me even more excited for eventual native F-Log support.

 

 

Can you add some more details about your workflow? I now have an X-T3 and would love to have even just an approximation of emotive color (I already own it for GH5 but sold that camera).

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On 7/11/2020 at 8:58 AM, ChristianH said:

Can you add some more details about your workflow? I now have an X-T3 and would love to have even just an approximation of emotive color (I already own it for GH5 but sold that camera).

Nothing too complicated, honestly. I just use a Color Space Transform to take it from REC2020/F-Log to V-GAMUT/V-LOG. That takes your footage into V-LOG, but the GH5 shoots in V-LOG-L, so you might have to adjust the contrast a bit ahead of the conversion. I either set the Contrast on a serial node to 1.1 or just leave it be. Then you can just follow @Sage’s instructions on how to properly set your image to conform to cinema luminance, then apply the conversion LUT and place the black levels. 

If you’re not using DaVinci Resolve, you can generate a LUT on LUTCalc to get roughly the same results on different software. 

 

It works well, but it’s definitely not up to Sage’s accuracy level, so I’m excited to test the native conversion when it gets released. I’m sure his takes on the best picture profile, codec settings and exposure guidelines will be invaluable to getting great results with the X-T3 as well.

 

BTW @Sage, any ideas when the conversion for F-Log might drop? I assume its a lot of work, so I just wanna make sure I don’t run out of nails to bite until its released hahaha

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@GabrielFF I've been at work on an update, making a few adjustments to V4. I wanted to note, be sure to conform luminance as needed *following the conversion (and Auto Black Level)

I'm not sure when it will be out just yet, but my intention is asap. There has been an update project holding everything up (including normal life activities for me lol), but once that's complete, then its time to finish FLog (and it will move very quickly)

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@Sage on the GH5 have you compared the 1080p 422 200Mbps All-I vs the 4K 422 400Mbps All-I vs the 3.3k 422 200Mbps All-I anamorphic modes?

IIRC you said that the 1080p 200Mbps mode had better colours than the 4K 400Mbps mode, but I don't recall any comments around the 3.3K 422 All-I 400Mbps mode.

It has less bits/pixel (2.7x the pixels and only 2x the bitrate) but the bitrate is 2X for the whole image which includes the same amount of tonal variation in the subject (you've got the same FOV and twice the bitrate to describe it) so when watching full-screen the pixels from the 3.3K mode aren't quite as good but they're much smaller, so maybe that offsets it?

If you haven't tested it but are curious, I can share some sample stills with skin tones and a colour checker for you to look at.

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It should be excellent. The mode that I found problematic was actually the 4K 150mbps, specifically on a gradient motion test. 4K 400 and 1080p All-I were both very good here (as well as 1080p 100 long). I'm a 2K fan generally (typical minimalism), hence the preference for 1080p All-I (the GH5 has excellent down-sampling)

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Hello there, I just bought GH5 (not received yet) and resolve studio ! And i am already interested in Ghalex luts 🙂 I googled a lot about gh5 profiles and ACES... My conclusions are:

1/ Panasonic doesnt provide any IDT for the GH5,

2/ V-log-L/V-gamut in GH5 is quite obscure: VlogL seem to be a badass and V-gamut, maybe is not the full color space of GH5...(if someone can tell me about this, thx).

So my question ! Did someone here tried the worflow of ACES in resolve with : V-log-L ->(through Gha lut) LogC -> alexa-IDT ? What is the version of LogC used by Sage v2 or v3 ?

thx

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On 7/25/2020 at 9:13 AM, Sage said:

It should be excellent. The mode that I found problematic was actually the 4K 150mbps, specifically on a gradient motion test. 4K 400 and 1080p All-I were both very good here (as well as 1080p 100 long). I'm a 2K fan generally (typical minimalism), hence the preference for 1080p All-I (the GH5 has excellent down-sampling)

Oh no! What will this mean for the s5 and s1 which only has the 150mbps codec? Are they breaking apart very easily compared to the 400mbps all I? And what does gradient motion mean exactly? Is it macroblocking or banding? I am really looking towards to your s1/s1h/s5 version but I am worried about footage breaking apart since the s5 only has the 150mbps codec.

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Apologies, I was away for a bit. An update - first, my dad is out of the hospital and recovering from surgery.  We are ostensibly through the worst of it.

Second, I ended up rewriting the complete engine. All legacy code has been replaced, in order to make extreme saturation projection more accurate, as well as make some improvements along the way (for example, the engine now features a 1D function at core)

Third, I've completed the S1/S1H/S5 conversion, as of yesterday.

On 9/19/2020 at 6:31 AM, Tous Ensemble said:

What is the version of LogC used by Sage v2 or v3 ?

It is the most recent LogC (SUP 11.1.1)

On 10/5/2020 at 9:31 PM, jack jin said:

Oh no! What will this mean for the s5 and s1 which only has the 150mbps codec? Are they breaking apart very easily compared to the 400mbps all I? And what does gradient motion mean exactly? Is it macroblocking or banding? I am really looking towards to your s1/s1h/s5 version but I am worried about footage breaking apart since the s5 only has the 150mbps codec.

Fortunately the S series seems to have a better internal codec. The GH5 was uniquely problematic with its red/green macroblock splitting. To test gradient motion, film a white wall in darkness. Then, move a spotlight back and forth to see If there is banding revealed as the spotlight falls into darkness. Better codecs will handle this smoothly, while more compressed codecs may have some visible bands moving in the gradient. This is the kind of thing that can crop up in lens flares, or panning across gradients.

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