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Pocket 4K to Alexa Conversion


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47 minutes ago, Video Hummus said:

Hopefully we will see a Gen.4 for GH5S. Great work these look incredibly similar. 

Thanks Video Hummus; the S will be Gen.4 right out of the gate, and that is the very next camera (along with the GH5 update)

21 minutes ago, zerocool22 said:

So if you work with these, you would get the same(similar) starting point as alexa footage(without the DR)? But if you throw in some Alexa luts afterwards will they clip on the pocket 4K?  

The core conversion is to a measured LogC (what Alexa records to). Then there are the display variations, which include the 709 display primaries from Arri all-in-one. Then there are the display look-ups from Arri itself (to be added to LogC), and their Rec 709 does clip far gamut.

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6 hours ago, Anaconda_ said:

At the same price, what's the difference between this LUT and the One LUT? (Aside from light source options)



That lut is literally not in the same universe as the level of work Alex has done here. I doubt that person profiled each camera - it looks more like hue curve adjustments in Resolve.

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@Sage Hi, I love your ghalex v3 luts on my g7, and since i have recently upgraded to pocket 4k, I intend to purchase the lut again, but I have a question. When I put on the tungsten lut instead of the daylight lut in the same lighting conditions and white balance, the only difference that I found was a redder skintone, so is it ok if I just use the daylight luts across everything? Or will the color accuracy be sacrificed?

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17 hours ago, Sage said:


Beautiful footage - great skin tones.  Thanks for the tutorial!

On the tutorial was the Blackmagic LUT applied after the skin tone magenta shift compensation node and the black level compensation node?  Basically are all things equal except for the LUTs?

Either way the Emotive Color LUT is outstanding!


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@jack jin Sure; you'll find the P4K to be similar. The summary of it is that Day will be greener under tungsten (always ensure skintone maintains contact with the skintone line on the vectorscope afterwards). The whole color space is slightly different, with each color weaving a divergent path up through the space.

@majoraxis Thanks majoraxis, all things are equal up to the cube; ABL must follow the conversion node, and is only on P4Ka for the comparison. WB is actually on the raw clip itself rather than a node (unlike GHa), as the Camera Raw tab is used for a completely accurate WB adjustment

@MeanRevert These are good notes for my next tutorial revision :) The Pre and Posts are much better - Exp Comp Pres are actually complete color conversions that capture the difference in sensor response with varying brightness (they include the rolloff and brighter than 1.0 region as well). And they are incredibly precise to actually stopping up or down in camera (preserving core LogC accuracy). The Posts simply have hue lock built in, and are an optimal luminance adjustment (preserving linearity above black). They are really fast to use, and are a major time saver. They also have a negative region preserved (below 0.0), and therefore not destructive to dark saturation data. That said, for a film, additional luminance adjustment after Post is recommended, to conform the scene details to cinema standard scene luminance (supplemental waveforms)

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On 11/26/2019 at 3:55 PM, Sage said:

The G9 just received 10 bit - I wonder if they will update the G7? Currently, Cine-D is supported via a Pre to convert to VLog - Cine-D PRE

Would be amazing if the old old G7 gets a 10bit update, but I very very very highly highly doubt that!

Doubt even the older lower end G85 would get it (and anyway, a G90 would get it first). 

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@Sage Thanks the great example!

Seems like EC is the way to get the most out of the Pocket 4K sensor In a single conversion/transformation (I’m not considering white balance and black point adjustments as a conversation/transformation for RAW or BRAW footage.)

So would having a set of EC LUTS for emulation film stock or an ideal sensor response LUT would benefit from having an EC LUT for each target output to do it in a single conversion?

Also,  is there the concept of having different EC LUT versions that are tuned for high and low dynamic range scenes as well as the standard EC LUT?  Or maybe this does not apply and only one EU daylight LUT is need for any amount of dynamic range in an daylight light scene?

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