Sage

Working on something now that I think you're going to like ; )

That checks out; When closely matching contrast and saturation between the two, the brighter greens, darker blues, and smoother skin tone from shadow to light really stand out here.

Its probably the cheapest working Alexa ever sold, at $7800 for the body only (best offer). With shipping and minimal accessories, there was another 1.5k added on. The seller neglected to mention (or didn't know?) that it had a history of salt water damage (I called Arri about the serial number). What this amounted to is that the SD card slot wasn't working when I received it. I got creative and cleaned the contacts in there, and it worked (the electronics in the cam are water-sealed after all). The upside of this is that it is a very recent model, with only 536 hours on the body. I intend to make a reference quality color conversion for a variety of cameras, with side by sides to document the conversion. And then, I'll probably use it for close ups and 120fps slow motion for a narrative thereafter

Odds and ends are still arriving, it should be minimally operational by tomorrow (with the card reader)

And no monitor ; )

Hey Jeremy; It can be a matter of taste, as technically there is no correct way at the moment. If above 4500, it is closer to daylight, and below, tungsten. And each tube will differ in it's spectrum, so the most fitting conversion may vary from it's proximity to one end or the other. Go with what feels most right ; )

Glad to hear it.. Especially the 32

In the case of the bed, I believe that was only Main. He said the close up was Main, set to 78% saturation (in the realm of Soft)

Couple more great stills from David:

It is apparently a multi-aspect sensor. The way this worked in the GH2 is that every aspect ratio was maximized to the m4/3 image circle, which would suggest to me that the 4:3 will not simply be a crop of the 16:9, like on the GH5.

Its that motion that I really like. I put together a 12lb shoulder rig for non IBIS cameras just to get that 16mm shoulder cam look. IBIS retired that rig, and there has been less back pain. Then again, I have a religion whereby the camera must always be moving; I don't even have a decent tripod

IBIS is important to me. Very much so

Excellent, please do. With current progress, I think it is reasonable to say that there may be some exciting news later this year. Here are stills shared from David L'Abbée:

That seems possible; with cleaner shadow stops on the bottom curve, when made more accessible via linear placement. Some high flown estimates for GH5 cited 14 stops, generously counting the noisy range. V-Log L is intended to 'roll off' those bottom stops, making them less immediately accessible.

GH5-Alexa Conversion. Perfect rolloff, tailored to GH5 sensor clipping

(Hint, hint, GHa)

Yes, all exposure adjustments should follow the conversion. Technically speaking, exposing to the right will maximize signal to noise ratio, resulting in less noise. With native color, there is a penalty to ettr because rolloff is problematic. With GHa, there is no rolloff penalty, so you can center the choice around protecting highlights as need be. Practically speaking, it will interact with GHa Soft for a different starting look. An underexposed image will be more saturated, and ettr will be less saturated and cleaner. Overall, the Main and Soft profiles were made for middle gray at 40 IRE.

Right, all adjustments (apart from white balance) should follow the conversion. Using lift/gamma/gain or the luma curve, you can place different elements in the scene in accordance with cinema placement. Take a look at the scenes with corresponding IRE graphs, you will see that scenes of a given type reliably place things of a given category (bright window, lit face, darkest black) at the same IRE level. All movies share general properties (darkest areas in indoor/night scenes placing just above 0) and ranges for for given scenes (shadow to highlight placement for lit faces indoors/outdoors). You can create an IRE guide for your grade, to have a consistent look throughout the film.

The conversions place the noise floor around 0-5 IRE, and full white around 70 IRE, with the dynamic range effectively linear between them. With a high dynamic range shot, this may be an effective final look. Shots with lower dynamic range will likely benefit from a dialing in of luma to conform to cinema IRE placement. Earlier in this thread are examples of Sicario and Birdman with corresponding IRE graphs to demonstrate ideal low-light placement of IRE levels. To achieve a more pastel effect, Sicario uses capped IRE placement of full white at about ~70 IRE. Birdman, on the other hand, has a few notable moments where they allow light sources to reach 99 (the brightest elements captured by the Alexa sensor). GH5 has limited DR in V Log L, and GHa uses the Sicario 70 IRE upper cap.

GHa ; )

I will need to custom support the GH5S; I am working on something that will make this a practical reality, as well as enable a new precision standard. From this weekend:

Its a solid grade starting point; simply a matter of how much/where to add contrast, and whether to add a color cast. For me, Arri's 709 in general starts with a little too much contrast for wide DR shots, and a bit anemic saturation. With static starting points, it is an interesting question as to which 'one-size' palette will be ideal

Yes, one of the biggest advantages here is that those without VLog can effectively get it for free. Also, those with both can experiment with both formats on the same project with full confidence that they can match them perfectly in post. They both store the full dynamic range of the sensor, HLG more linearly than VLog (which curves shadow noise). HLG uses a bit more bit depth, because VLog L is conformed to the Full VLog curve for workflow compatibility with full VLog. Because the color spaces are different, the resulting native color is different, and I find the native color of VLog to be a bit better than the native color of HLG (for skintones especially). With color correctives, such as Leeming or Driftwood, the color of either can be significantly improved.