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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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EOSHD Pro Color 5 for Sony cameras EOSHD Z LOG for Nikon CamerasEOSHD C-LOG and Film Profiles for All Canon DSLRs
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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  • 3 weeks later...

I rarely shoot music videos but I made one for a friend a couple of months before the pandemic. Shot with GH5, with Pana/Leica 15mm 1.7, 25mm 1.4 and 42,5 Nocticron. And two Aputure HR 672s. No pre-production, no storyboard, It's was all improvised, a very stressful couple of hours so bear with me 🙂 I used Emotive color v3 when editing. 

 

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  • 5 months later...

Hi, I know this forum has been quiet for a long time, but I did not want to miss the opportunity to share this teaser of my next movie. All shot on a GH5 using GHalex.

This film began to be filmed in the middle of the pandemic, and now it is in post production to be released in 2022. I cannot help but thank @Sage for his work in creating this color matrix that has made my life easier.

Cheers!

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5 hours ago, Wild Ranger said:

Hi, I know this forum has been quiet for a long time, but I did not want to miss the opportunity to share this teaser of my next movie. All shot on a GH5 using GHalex.

This film began to be filmed in the middle of the pandemic, and now it is in post production to be released in 2022. I cannot help but thank @Sage for his work in creating this color matrix that has made my life easier.

Cheers!

Look great!  I think the lighting and colour is particularly good.

In fact, it doesn't look like video at all, which is something that very few people are able to do these days, even if they're trying to make something cinematic.  

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16 hours ago, kye said:

In fact, it doesn't look like video at all, which is something that very few people are able to do these days, even if they're trying to make something cinematic.  

Yes, this is what I have been saying to various colleagues from the industry here in Argentina; We've gotten to the point that you can make any camera look good. That's why I continue with my dear GH5. It is not that I am not willing to invest or upgrade to more expensive cameras, but I am working in a more "economical" film production framework and the budget ends up to what is seen in front of the camera.

9 hours ago, PannySVHS said:

Congrats! GH5 produces fantastic results when used and graded with skill. In lit sets it really delivers cinema images. 

Yes indeed!

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@Wild Ranger
 The look and mood of your film reminded me of a film which was also done with a GH line camera. Of course the GH5 trumps it by far regarding tech specs and ultimate image quality. But it shows the craft and care and right camera and approach for the film. In the end we will always be low end equipment lovers, even with an Alexa on a jib.:) So here some Bts from this GH3 image wonder. Wondering if the filmmaker Gami Orbegoso has put it out yet. You will find his GH2 predecessor on his vimeo channel, a 70min feature film.

 

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