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Andrew Reid

Panasonic GH4 gets Arri film look

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Something I have discovered while editing all this GH4 4K material is that the 8bit codec Panasonic uses is quite complex and requires more power than ProRes. I have also found that the sequence settings and video proxy settings in Premiere are a good thing to pay attention to this time... the default ones no longer cut it.

Along the way I have found a few tricks to get the colours in GH4 footage to absolutely sing with Film Convert and Premiere using the Alexa Rec 709 profile.

Read the full article here

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EOSHD Pro Color for Sony cameras EOSHD Pro LOG for Sony CamerasEOSHD C-LOG and Film Profiles for All Canon DSLRs

I think all these filmconverts,luts,etc... when not used the way they were designed for they might work very well on shots where no direct sunlight comes into play but in scenes with a lot of DR they tend to look aful (unless you really are looking for the posterisation).

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Thanks for the test Andrew. You've convinced me on the next camera to get. The ARRI Alexa ;)

 

Perhaps rent or borrow an Alexa and do a comparo such as this: 

Note how many folks could not figure out which camera was which.

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Some of these shots look fantastic, but some look a little overkill.  Like the LUT is crushing the bottom end of the curve and bringing out too much red/orange saturation.   

 

It's called "the sun".

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(I posted this on the vimeo site but thought i should share here)

Thank You! Work flow is going to be an entire other realm to deal with. Your insights and experience are really great. It's fun to see the evolution of your footage. I've read and looked at all your posts and it seems safe to say that this little GH4 very well could be the little camera that could.
Cheers and please keep posting your footage and observations. And if you could send us some sun and spring weather here in Nova Scotia that would be a bonus!

It also seems that the skin tones all hold up well with the grading and the wonderful warm magic hour light. Can't wait to see what comes out at NAB.We need to see you grade 10bit 422 footage off this sensor. If you hear of any good HDMI 4K field recorders let us know. Anyhow...happy shooting. I can't wait to get my hands on this camera.

Ok here is my last post tonight....I've been 'studying' your grading....and I'm wondering if you can bring out more detail in the blacks...I noticed on your early 'vivid' grade of the Porsche you lost all the cobble stones and now in this one you brought out all that detail back out. The shots in the back lit out door market would be an example. Are the blacks crushed in this shot or just not there in the capture?

good luck and good night...and thank you. 

Now that I've read these comments we can "see" how subjective "grading" can be. I think what I am hearing here. Is that we really enjoy your work. And would also like to see how far the DR can go without crushing the blacks or blowing the highlights? The colours look yummy we just want to see the latitude of what you can pull out of some of your high DR shots. Please keep sharing I love the looks you are creating!

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Because it is shown at 720p on a 4Mbit Vimeo stream. Hell that is really letting the Alexa's wings stretch isn't it  :rolleyes:

 

So for your test you can provide a 10-bit ProRes download ;)

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Can anyone suggest settings for Premiere to output similar quality as ProRes 10bit 2K with 4444 sampling on the Windows side of things?

 

Thanks for all the info and samples. I'm counting the days for notice that my preorder is on the way!

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You're getting me prepared and very excited to receive my GH4! Thanks for all of the samples and great tips.

Just curious, but why do say not to use FCPX?

Yeah I really don't get the hate for FCPX. I was just watching videos of Film Convert in FCPX and it seems just as good, but I don't know much about grading.

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Something I have discovered while editing all this GH4 4K material is that the 8bit codec Panasonic uses is quite complex and requires more power than ProRes. I have also found that the sequence settings and video proxy settings in Premiere are a good thing to pay attention to this time... the default ones no longer cut it.

Along the way I have found a few tricks to get the colours in GH4 footage to absolutely sing with Film Convert and Premiere using the Alexa Rec 709 profile.

Read the full article here

 

Too much contrast and too much red,pink. Need PRO Grader on smoke* ;-)

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Thanks for the recommendation on the Arri's FilmConvert profile.  The colors on most film settings seem to look great on just about any file with any profile I've taken with the GH3.  You definitely can't say the same thing with the GH3 FilmConvert profile.

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Doesn't filmconvert remap all the chroma and luma values? That's quite a scientific process, no wonder the colour and dynamic range is so thoroughly buggered. It looks like it has remapped the bottom few stops of shadow detail to black, and given everything a strong megenta cast. I hope this is a facet of your workflow, rather than the camera itself. The guy at the beginning looks like a lobster!  Nothing personal dude, but I don't think this creative decision has worked for me. 

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Thanks for the footage.  Always a great blog...

 

I'm noticing quite a bit of micro-jitter on the opening shots.  Would you say it seems similar to other DSLRs - or are you noticing it to be more exaggerated?

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