Sage

Robert, a few years ago, I felt similarly. Over the last year though, I've really come to appreciate color science, specifically what is beyond the scope of the usual color grading tools.

Within the next few weeks, depending on how much free time I've got & how fast I can work

As always, its a free update. My way of saying thanks ; )

@tihon84 V1, especially Daylight, is not bad. V1 Day with VLog in Resolve is quite good. Notably, the Emotive Color component is quite different in exposure handling (which is apart from LogC accuracy). Emotion II is especially egregious, because it features pre-release GHa (pre-Blue and other updates), and the original 8bit PRE, with a hasty midnight grade. I knew (and noted then) that it was a poor technical showcase, but something that I wanted to make for some time That being said, V1 did have an important flaw (apart from the limitations of that process). That flaw was related to the fact that I did not own the Alexa, and had a single window to get the measurements right. I opted to use different lenses, which I thought would be sufficiently neutral. I didn't get a PL adapter for the GH5, and only realized that this would be a problem upon reviewing the results of the shoot. It turned out that Zeiss CP.2s are quite poor in color rendition, but my Sigma 18-35 was excellent. So, I neutralized the grayscale white balance... a kind of continuous white balance shift throughout the grayscale, to accommodate the difference Subsequently, I bought an Alexa (really), to make it perfect. This has proved vital, because I have redone the measurements countless times now, tweaking and tweaking again (same lenses all the way). V2 is approaching the theoretical 'perfect conversion' because of this, and because of the new process, which features 25 times the number of samples, and the code I wrote to handle that unwieldy sample count to a new standard of accuracy and smoothness (previously out of reach with the given degree of intricate transform)

The path recommended for utmost fidelity is: VLog in Resolve Those using HLG in Premiere (for example) will not be at a major loss - the difference from that optimal condition is slightly less rolloff accuracy and slightly less smooth. For 4k 60p Vlog in Resolve, no PRE will be needed (likewise 10 bit VLog, except ProRes). Subsequent paths in order of fidelity: VLog (10bit) in Premiere VLog (8bit) in Premiere HLG in Resolve *** in Resolve HLG in Premiere *** in Premiere In Premiere, avoid the Luma curve of Lumetri. Rather use the lift/gamma/gain wheels, or RGB curves (in Obsolete)

@dxotic One neat thing that I geek out over, is that it is so smooth - PREVIOUS NEW And the PREs are so much more accurate (8 bit/Premiere/photo styles) - PREVIOUS NEW - 8 bit Premiere PRE at work

Hey @Rikoshet You'll only need one instance of Lumetri - the 'Basic Correction' section can accept the [PRE] technical conversions, and the 'Creative' section can accept the GHa conversions. Then, in the Basic Correction section, any needed white balance adjustment may be made, which will stack inbetween the [PRE] and GHa conversions. You may then right click on Lumetri, and 'Save Preset' for use later (w/ a title like "8-bit Daylight (Soft)", etc.) This will save the step of having to load two separate files. A lumetri effect may be copied and pasted to multiple clips, and an 'Adjustment Layer' can be stretched over several clips in Premiere to apply a single instance of Lumetri to all underneath it for a one-light grade. I'm about to revisit the PDF. A lot is about to change. I've been revisiting the 8-bit Emotion II, updating it to the new color science: PREVIOUS NEW PREVIOUS NEW PREVIOUS NEW

Often, the XL taps into extra coverage for glass rated at S35. The wider region might reveal vignetting, but can simply be cropped. Metabones is fantastic, both its SBs for old nikon glass, and its plain Nikon adapter (for aperture control and accurate flange distance/stability).

Wow; this looks incredible! Bravo!

That's true.. this is BMD after all For many years, I asked that they make this exact camera (though never imagined they'd pull off 120) Wonder what the olpf situation will be

Soon; there's a lot involved with this one

Thanks Pewwinck! Here's the upcoming Daylight:

Soon; I have a lot of things to work on first. You'll be hearing from me (as previous) New GHa Daylight VLog + Varicam 35 Lut New GHa Daylight VLog + Varicam 35 Lut

Yes, the GH5 itself has the worst rolloff of the bunch. The S has good clipping correction, and I intend to bring the accelerated Alexa style rolloff to the S in the future (need to get a hold of one for measurement)

@ajay Take a look at GH5 with GHa. If highlight rolloff is the absolute highest priority, that's the very best GH5 + GHa GH5 VLog

Check it out: New LogC Tungsten New GHa Tungsten ________________________ VLog + Varicam 35 Lut

Thanks Neufeldt, I appreciate that I intend to democratize the very best cinematic color; it wasn't ready for me when I was getting started. Arri's Rec709 falls short; likewise Varicam etc Paul Leeming's raison d'être is neutrality. That's definitely a good way to go

Thank you Tergelet! Feel free to share what you find! Interesting note - V2 will have exposure mapped in LogC a little differently. For matching the Alexa precisely, you will be able to set identical settings (spare custom WB). Usable DR is maximized, and I'm exploring the mapping of Main/Soft, which will have lower contrast by extension Yes, it will improve GH4 VLog; I want to specifically measure the GH4 for the purpose, if I can get a hold of one. The standard 8 bit VLog concerns apply, but there may be an interesting development involving 8 bit soon

The luma range guidance is really for those using VLog encoded to Prores; otherwise the native VLog should be read correctly. For grading the final shot, the noise floor should most often be placed lower than 128. 'Main' will place luma levels optimally for a wide dynamic range shot. I intend to add a luma grading addition to the Pdf. Its good that you're using Resolve; that is the recommended NLE for GHa at the moment (update for PPro soon). Those are pretty intriguing shots by the way @iplaythebongos Ah, that kind of thing will happen : ) There is a degree of universality to Main/Soft

They look fantastic dxotic. May I ask, what editing software do you use?

Yes - send an email to emotivecolor (at) gmail indicating you'd like to use it with the GH5S. That's one of the things I'm considering. The tricky part is that there could be endless 4300ks, because every light will be seen differently by the sensors (which becomes more important when the new standard point is reference grade). An active software would have different lights to choose from, and accept chart inputs to anchor the conversion

I've been working on it since December; a custom coded color engine that accepts ~25,000 samples per camera, and smoothly interpolates between all of them. For a sense of perspective, GHa v1 was clocked at ~1000 samples per camera, and the average Lut has ~36k points - allotted to the entire *potential RGB range I'd like to do something for the 4k temp range; what light model do you use?

That's VLog at top - and LogC at bottom

And... the one that I'm floored by...

The hard part is done; its comfortably a slam dunk, so to speak. Here's a taste - this is HLG (converted to VLog) and VLog (HLG is on bottom, with equally increased saturation to demo color, and overlayed vectorscopes): The waveforms are likewise identical, and the conversion is silk, throughout the entire color space.