Sage

That's what I'm thinking - granted I don't get hit by a bus or something I always liked Black Magic Those are really cool. What's your approach there? How did you set WB? I want to get a magenta/color light to experiment with in my next night shoot

Correcting for Leonardo

Yes! That's what I'm thinking Ah yes, the PV2K! CineD is just the ticket for the 8bit Panasonics. Moreso than VLog

@mercer Right now, I'm re-evaluating the entirety of the process for efficiency (Model 3) The GH5 with EC is all I've ever wanted; it would be nice to be able to support other cameras per request, as there have been many (and still manage film making!)

@mercer Thanks Mercer; consider the GH5 - the big deal, for EC, is that it has 10 bit 4:2:2, and it can be had for a couple hundred more than the G9: https://www.ebay.com/itm/Panasonic-LUMIX-DC-GH5/323378271854?hash=item4b4ad8d66e%3Ag%3ABO0AAOSwIUZbYtHH&_sop=15&_sacat=0&_nkw=panasonic+gh5&LH_BIN=1&_from=R40&rt=nc&LH_TitleDesc=0|0 Another factor is that the Pocket 4K is coming out soon, and it will only be $1300, with a full Resolve included. What do you think of the Pocket 4K? If I got a hold of a G85, I could support it, probably via Cine-D. Likewise the D5500; the key with 8bit cameras is finding the right balance between captured DR and gamut bounds, and data density

An interesting qualifier for us is "video" Brands: Models:

Steven De Sarno sent these stills from high frame rate 8bit this week:

That's a great idea. At the moment, there's Reel Smart Motion Blur (computer intensive though) Stills with 180d blur are cinematic, as long as you can get one resolved enough..

From what I've seen, it seems to work well. For example, the difference from Alexa color science is astronomical by comparison This is an S frame from Jeff Cowie that I prepared with EC and black level placement earlier this week:

That's where I set Zebra 2, but there is a degree of flexibility to it. As long as skintone is between 40-65, you'll get a rich exposure in that zone Regarding Luma placement (tying in to exposure), I wrote in an email earlier today: "Yes, the nature of the conversion is professionally oriented, to treat all usable DR equally (hence the lower contrast). An artificial black level limit is not placed on the footage to give an impression of immediate added 'pop', and is rather left to the colorist. Luma placement is the simplest operation, whereas the intricate color interactions are taken care of. I may add an 'Auto' variation in the future in addition to Main/Soft/Pop, so that not even Luma placement is required (!) (at the cost of flexibility)." EC/V35 Flipbook (Gradient banding from .gif):

For VLog exposure, you'll want zebras at 80% (clipping), and I have the other at 50%. Above 65% is the rolloff, meant for over-bright highlights I'll be taking a look at the .vlt situation at home, perhaps there is a setting or something else at work here

Hey Maverick530! Cine-D should be set to the equivalent for 8 bit (I can't remember the exact numbers off the top of my head, stranded at work atm) The .vlt adds saturation and contrast for VLog monitoring (the contrast extending the black level down to 1 IRE, the highlight ceiling the same)

The original shoot: Emotive Color V1 (Tungsten Main) Emotive Color V2.2 (Tungsten Main) Varicam 35

I do, you can get it for free here I don't know how different the G85 CineD is, but granted the overall similarity of VLogs, I would imagine it to be close

Yes Please! I'm looking forward to that. Do you use Resolve? The area where EVA could have a nice boost is the handling of the top end of DR. Current EC has an ideal rolloff for the GH5, whereas the EVA could have a roomier EC Thanks man, I appreciate that (greatly).

@Oliver Daniel For an idea of how current EC works with the EVA, here are a couple of tests images (from Slashcam and Best Film & Video): Raw VLog With Emotive Color EVA1 - Vlog EVA1 - Emotive Color AMIRA - LogC AMIRA - Emotive Color (Granted the cameras, unsupported light sources, WB etc, I'm pleased!)

I asked him. For me, nothing fancy. I shot the entirety of the outdoor shots in Always Already with the sunny preset, no post correction or color grade. For exposure, I generally aimed for a little brighter than I have in the past, just by eye, but not ettr (i.e. not placing just at clipping). Its ideal not to place significant image areas in the rolloff (65-75), or to significantly underexpose. The vlt preview gives a good idea of the resulting image (eye viewfinder gives accurate contrast) *His response: I always custom white balance using my x-rite colorchecker. I exposed it so it was not clipping (except the sun). The new luma placements of EC is quite right to judge exposure by eyeballing the V-Log Assist 1D LUT. Othwewise, i would have ETTR it and used my luminosty mode layer to drop down exposure while keeping the noise level to a minimum. *I think he might be referring to another sun shot he sent me, but it covers the bases

Here it is:

@tihon84 Here's what David said: "No grade at all, it’s plain GHa Daylight (Main). Maybe just a slight luma correction, but i’m not even sure on that one. I’ll send it to you soon, i don’t have access to my computer right now." He's going to share the VLog

David usually just places luma as in the PDF. I'll ask him, and also for the Vlog version Did you get those last two Vlog shots?

From David L'Abbée: OLPF 20%, 7 Blur, with the Sigma 18-35mm

Yes, v2.2 is an update for the central GHa conversions. I am thinking to redo the supporting PREs soon, but that would've delayed 2.2 for awhile. I wanted to get v2.2 out as soon as possible, as it is a "paradigm shift" (finally in that 'perfection' zone)

Do you mean for v2.2?

@Coiii @Wild Ranger I would like to.. supporting the GH5 fully has been time consuming. If I do support more, I would like to make sure its quality work, and fully supported. If I could do this full time, that would be awesome. I've got these other offshoot(s), that is/are potentially amazing

@Wild Ranger That looks incredible! Totally love the grade there