Sage

I'm in the comments there somewhere; we both made the same mistake. We used a Sigma 18-35 on the DSLR, and the cheapest PL lens we could find on the Alexa. In my case, I used the Zeiss CP.2. In his case, he used the Xeen. I assumed that it must be neutral, because it is an expensive PL. I was wrong; the CP.2 had a very strong blue cast, and the Xeen a very strong green cast (I was once seriously considering buying them for the Arri). V1 GHa had to compensate for this color distortion between the lenses (grayscale neutrality - the Sigma was incredibly neutral), and this affected the accuracy of the conversion. After that, I knew I would one day have to redo everything with the exact same lens on both cameras. The video still has its value; the color separation of the Arri comes through, and the beautiful neon vibrancy in the tunnel combined with skintone. Also, love the song I did do side-by-sides, though not to Arriraw: http://www.mediafire.com/folder/x3ub82eh21u63/ALEXA vs GH5 (Side-by-Side)

In his case, I believe he is using a Film Lut intended for LogC. Arri tends to be more rigorously supported by third parties (accurate film conversion). This would be a very different starting point from Arri's R709 Lut. Main/Soft are a nice place to start grading from (without further *technical transforms etc.)

Sure, The format that the Arri Alexa actually shoots to is LogC. The LogC conversion conforms VLog to the exact output of the Arri (when the footage is WBed correctly under a supported light source) From there, the LogC data format needs to be conformed to the display to allow the correct handling of RGB. The standard approach for Rec709 is to apply the Arri R709 Lut to the footage (which has the correct RGB primaries). Other Luts and workflows intended for LogC may also be used following the LogC conversion (the Alexa is often well supported by 3rd parties). My experience has been that Arri's default 709 color space is a very uninspiring starting point for me. The underlying color science is great, but the luma and saturation placement is just not very cinematic. Enter Main/Soft; these include the LogC conversion, combined with a luma and saturation placement that I much prefer (and conforms to the 'Sicario luma ceiling'). They include the Arri R709 primaries for correct RGB on a Rec709 display. The base look is informed by film (celluloid) luma and saturation. I may release this as a separate component for Arri users eventually (the 'Emotive Color' component) The following is from an Alexa Mini (Master Prime 35mm): LogC Arri 709 EC Main (Click to see in the correct dark context, the page is very bright)

In the interest of conversion fidelity, its worth noting that exposure corrections should go after GHa, and WB corrections before (the core LogC conversion is a delicate thing, so to speak)

I quite like Main - it was made to be an ideal 'grade space' Smooth skin handling, filmic saturation envelope, and cinematic placement by default (just requiring black level). The core principle behind it was that all hues must remain identical in relative saturation and hue to LogC+709 (i.e. no color science change) You've gotten to gold both ways though, bravo

With the Olpf settings, the texture rivals the Alexa (and this smoother style is a key quality of the 5D3 ML) Of course, I would love to support the 5D3 eventually (they are rented out near me) *On the identical note, that is that the P4K and GH5 both converted to LogC will be identical (assuming same settings and lens) Oh yea - extreme red saturation is now correct with Verde (there was an artifact out there before)

You're certainly doing great things with it! With Verde, a bit of roughness was introduced to the Day rolloff; this will be fixed soon Ah ok - the note you wrote about GH5 Vlog made me think this might be the case. All-I - its really great (full codec glory)!

Alas, I'll have to find an FZ2500! hehe I don't know how it will work (completely untested by me) With the conversion, the P4K and GH5 will, oddly enough, look identical @Wild Ranger Do you use All-I?

Yea, the DR is the same (the ISOs are just named one lower) Do you use the Arri 709 Lut after LogC?

The first stills are the ungraded Cine-D - here's a frame with LogC and also Main routes (no WB tweak): Cine-D Original Cine-D to VLog + GHa LogC Cine-D to VLog + GHa Main Cine-D to VLog + GHa Main + Basic Luma Placement

I'm pretty thrilled with that. Visual masterpiece* There are so many amazing shots *Btw, I showed all your shorts to my friend this past weekend

Bravo ?

As best I can tell, Arri seems to have removed the film matrix option from the Lut generator. Its something I haven't experimented with, but I know that @JeremyDulac has a copy The Lane is pre-Olpf update; the OLPF settings impart a texture which is very similar to the Alexa (the pinnacle of video texture) I believe they used the Varicam 709 Lut on a VLog frame, to compare it to GHa on the same frame The Varicam 709 Lut is available here

*Amazing work from Ryan Glover: And Ryan on the GH5S: Lol, not quite, but it will be a free EC update - and its stunning

Love 'em. Btw, got something really cool coming up.

Looks excellent. Well exposed, and the auto WB seems to have done well

Keep in mind the Hyperloop and Boring project*

Looking forward to it! They do support LogC directly, which would allow for a technically precise color shift - though I can see why the main+709 would be a compelling route

Its better than Long GOP; you'll be fine with either intra. The 2K is a great sweet spot, in that its an excellent downscale with copious bitrate, and 60p (and works on conventional cards). It is all the more important to use the OLPF settings with 2K, as the sharpened texture is inherently more apparent in 2K.

Mmm I get it. Maximal color separation in the WB I've got a cool idea for mixed artificial lighting that I'm going to test soon

Looks great, there were a lot of really nice shots. Is that with the LogC workflow?

Thanks Mercer, the next one should be pretty cool!

@mercer I just export the 1080p timeline at 2.5K (from Premiere in the case of AA). This causes a more organic resample of the 1080p 'grid', though the main benefit is that good 1080 is possible on streaming sites when a 2.5K file is uploaded (sufficient bit rate at 2.5K for a rich 1080, listed as '2K') Indeed the downsample is the same for 60. All pixels are used to create a very detail dense 1080p on the GH5. Paired with the OLPF settings (listed on the last page of the PDF), you can get a smooth, yet detailed image (like the Alexa and film). I love it!

I applaud that feat! For the side-by-side, be sure to check out the V2 raw footage side-by-sides, which were correctly shot with the exact same settings and same lens (how V2 was made) The 2k All-I mode is really spectacular (for 2K). The downscale is pristine, and with the Olpf settings it is silk. This is what I shoot, and at 59.9Hz, All-I 10 bit 60fps is available Always Already is all 2K All-I with digital OLPF (download the 'Original' file)

What do you think of the Ikan Lyra LBX30? Its meant to compete with something like a Skypanel, but at a fraction of the price