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GH5 to Alexa Conversion


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21 minutes ago, PannySVHS said:

Darn, @Parker, you nailed it! Shots are all from the S1 or some from the GH5? S1 or S1H?:) I was close to purchases Sage piece of art. But then figured I will do it for a S1 only job! Last one was FS700 plus 10percent S1 in the mix. Cannot wait to do a S1 only gig, once I got my rigging set!:) cheers

Thanks! It really is worth buying, skin tones just seem to get such a nice, beautiful separation, color-wise, from the rest of the image, and I like the way saturation is handled throughout the exposure range. 

All of the shots I shared were shot on the S1, a mix of internal 10-bit VLOG 4k60, 24, open-gate 6k, and the shots of the dude are all ProRes raw from the ninja v. 

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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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On 6/1/2021 at 9:56 AM, Sage said:

Emotive Color V5 'SPECTRUM'

The V5 'Spectrum' update is ready. The V5 emails are going out now (let me know if you haven't received it). It is the culmination of four years of engine development, and I hope you enjoy!

Emotive Color Component ('EC709')

  • EC709 component (Full/Theatrical) rebuilt with new engine, allowing accurate, uniform far gamut projection of Arri display table
  • Arri Rec.2020 now used as the color target (projected within EC709 envelope); results in deeper saturated red and blue that are otherwise clipped in Arri's Rec.709
  • High Scale is now Full Scale (unlabeled); a direct replacement for LogC+Rec709, with notable advantages (aesthetics and gamut preservation)
  • New Classic 'Soft' and 'Hype' variations (like V3-era 'Soft' and 'Main')
  • Refined natural saturation model

Core LogC

  • Fully realized uniform far gamut projection from known lower saturation samples (solves issue that caused saturated orange to twist towards red)
  • New rolloff math; allows grayscale reconciliation of high saturation brightness values (only available for interpolated .cubes; not achievable in Matrix)
  • Added final, fourth calculation pass (post-smoothing), which allows absolute accuracy to known sample points in final render (while retaining smoothness)
  • Corrected an issue that allowed smoothing algorithm to clash with a 'safety lock' on grayscale hue, that could result in red-green banding near the grayscale (especially with 33x under Trilinear Interpolation); now fully smooth regardless of grayscale

Misc.

  • New Ceiling Modifier [POST] files; allows variable highlight compression
  • New 'Natural' profile [PRE] for GH5 (shares settings with Cine-D: -5 Sat, 200 Iso)
  • Remade all PREs (picture profiles / exposures)
  • Revised Pdf; Important: DaVinci Resolve - Enable 'Tetrahedral Interpolation' under Project Settings > Color Management > Lookup Tables   (allows 65x performance with 33x cubes; complete gradient smoothness - FCPX has this as default)
    • Remade Premiere PREs with new measurements (to reflect 2021 Premiere's improved codec color); no 8-bit VLog or Cine-D PREs needed
    • Significant revision to Premiere Pdf guide; Advanced layering section is no longer relevant, use Lumetri's luma curve (improved significantly)
    • Gradient Test is now 16-bit png (compatible with Premiere) rather than tif
  • Entire Matrix PowerGrade now printed directly from the engine (complete reverse-engineering of .drx format):
    • Precise values entered directly into the curve interfaces, at maximal point density
    • Improved engine gamma accuracy enables significantly improved base matrices
    • New LogC Exposures feature (true exposure gammas extracted from sample data)
    • New 4200K PowerGrade variant

If you have any videos or stills you've made that you can share, I'd love to see them!

-Alex

1356451514_E2Spectrum.thumb.png.af5db74416e34f575058b007359036ca.png867008102_V5Spectrum.thumb.png.6ad5d6825a0cb0fb71c1fdf8e3bc7f9e.png

Hi @Sage, I haven't get any email. let me know if this is coming.

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Hello to everyone, new to the forum and I came with a question. I just bought it for my S5 and I am experimenting with the exposure. I’ve found that I am getting good results for V-Log with my zebras at 80% for highlights and about 55% for skin tones.
 

The thing is I’ll be using Cinelike D too for 8-bit VFR footage and I’m used to using zebras at 100% and 70% respectively. Of course if I use such a footage with the S1 Alex it gets massively overexposed. I can correct it before the conversion with good results in Resolve Studio but I could also just shoot with my zebras at 80% at the highest, just like with V-Log.
 

Has anyone any idea what would the most optimal solution for keeping the noise low and also using the full DR of the camera when shooting Cinelike D with the intention of using the footage with S1 Alex? Many thanks in advance!

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On 6/12/2021 at 4:37 AM, majoraxis said:

This is great news!

Is the USRA G2 version recommended for use with the USRA G1?

Is the Zcam S6 version recommended for use with the Zcam E2-M4?

Thanks!

Mark

The URSA G2 version works with Gen 4 and Gen 5 color science. So it will work on the URSA mini pro G1. It will also work on the older URSA mini 4.6k, as long as you shoot in RAW so you can set it to Gen 4 color science. 

The Zcam M4 sensor is quite a bit different so the S6 lut is going to not be very accurate on the M4. 

 

On 6/12/2021 at 7:36 AM, projectwoofer said:

Hello to everyone, new to the forum and I came with a question. I just bought it for my S5 and I am experimenting with the exposure. I’ve found that I am getting good results for V-Log with my zebras at 80% for highlights and about 55% for skin tones.
 

The thing is I’ll be using Cinelike D too for 8-bit VFR footage and I’m used to using zebras at 100% and 70% respectively. Of course if I use such a footage with the S1 Alex it gets massively overexposed. I can correct it before the conversion with good results in Resolve Studio but I could also just shoot with my zebras at 80% at the highest, just like with V-Log.
 

Has anyone any idea what would the most optimal solution for keeping the noise low and also using the full DR of the camera when shooting Cinelike D with the intention of using the footage with S1 Alex? Many thanks in advance!

I usually over expose 1 or 2 stops and bring it down in post using the Exposure correction luts. 

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On 6/13/2021 at 4:48 PM, TomTheDP said:

The URSA G2 version works with Gen 4 and Gen 5 color science. So it will work on the URSA mini pro G1. It will also work on the older URSA mini 4.6k, as long as you shoot in RAW so you can set it to Gen 4 color science. 

The Zcam M4 sensor is quite a bit different so the S6 lut is going to not be very accurate on the M4. 

 

I usually over expose 1 or 2 stops and bring it down in post using the Exposure correction luts. 

Ok, many thanks!

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