AaronChicago

BTW this is the article that references 28mm. http://noamkroll.com/28mm-lenses-the-secret-ingredient-for-achieving-a-film-look/ I'm very intrigued by this and don't want to derail this thread so I'll start a new one.

I'd love to hear more about this. Which lenses are you talking about? Is it a 28mm focal length based on a 40mm lens, anamorphic?

Here's how I would look at it. If someone can't wait another 3 seconds for it to load you probably don't want to work with them anyway. They're the client asking when they can see the final cut - the day after shooting.

Yeah I have actually been using it with Natural and Portrait. I think the 1DC LUT is optimized by using Cine V.

That looks like a good option. I figured out another way to identify super highlights in colorista with a key. Shadows didn't work out. I'll try your method for shadows.

speiberg, orsen wells, scorsese, malick have all said 28mm is their favorite.

Did you use the LOG converter? I agree about the YAGH with battery power. Sturdy SDI out from GH4 would be great. Especially with upcoming V Log.

I don't see a separate control for saturation in highlights. Only normal HSL controls, and 3 way color wheels. In Magic Bullet Looks they have ranged saturation which has a saturation slider for Highs/Mids/Lows. Only problem with that is that it lumps in the highs on a broad spectrum. I'd like to tweak that spectrum to include specular or super bright highlights only.

In Resolve it's very easy to control Highlight or Shadow saturation by a value setting it to super dark only, or broad shadows. (0.400 , etc). Does anyone know a way to do this in Premiere? I have Colorista, MB Looks, and Lumetri controls. For the life of me I cannot figure out how to tweak the value of the highlight saturation.

Slow zoom and all! http://www.engadget.com/2015/08/20/vhs-quality-videos-ios-app/

It's great for adding an array of LOG LUTs to give the GH4 different looks. I was skeptical at first but I'm really enjoying it. Here is LOG converter with an Alexa LOGtoREC709 LUT.

So the sensor of a 65mm camera is bigger than Full Frame sensor, but you just wouldn't use an f1.8 b/c the dof would be ridiculously shallow. Is that right? I always get confused when it comes to sensor comparisons.

Really? I thought it was slightly bigger than Full Frame.

There is some difference. I asked Driftwood about it and he said that you can notice a difference on a 10 bit monitor and with bitrate detection software. Not sure if he means there's no big difference on 8 bit monitors or what.

I still haven't figured out if Smooth Motion is a case of people being told what to like, or not knowing what they like, or both.

$1999 for P50 with those specs is unbelievable.

Definitely Nikon.

I've had luck with Andrew's LOG converter with Portrait and Natural. You'll then be able to use LOG LUTs. Yes it is 10 bit. I'm curious to see 8 bit flexibility as well, but if it's anything like the C100 it won't be much different.

Mattias have you tested Wide DR? I've noticed that it reduces shadow noise rather than using C LOG (at least on the C100). If you're doing a low contrast grade though C Log is still the best bet.

And here is V-Log > AlexaLOGtoREC709 > Osiris M31 LUT

Couldn't get past 0:20. That guy is seriously annoying.

So I tried adding ONLY an input LUT to the V-Log footage. AlexaLOGtoREC709, with a tad bit saturation. That is all. Colors are looking great IMO.

Here are some good examples of music video guys who also do corporate videos with style: Jonathan Yi: https://vimeo.com/48335881 Adam Lisagor: http://sandwichvideo.com/

I had to reduce magenta as well with Portrait. That being said, I've hardly ever used a LUT where it's perfect out of the box. Always a few minor adjustments help in different scenes.

I didn't have any Cine V footage at hand, but here is Portrait > EOSHD LOG converter > Kodak Elite Chrome LOG LUT