Sage

That looks really good @jsmorris_, What do you think of Soft? It is something of a dream starting point for me, as compared to Arri's 709. I took a minute to dial in the grade on top of the EC Soft component applied to your LogC shot, attached are the shifts I made to LGG and the color wheels: For our purpose, I recommend V-Log. The conversion to Alexa space is more direct via the VLog route, which minimizes translation error. Technically, HLG uses a bit more bit depth and stores shadows linearly, but in practice they are both effective storage formats for the core sensor data and will get you to the same place (extremes of range preserved).

Indeed, I'm excited to see how it will be used

*Starting today, I am offering the HLG/V-Log conversions for free. You can enter a donation if you'd like Enjoy! "Precision conversions to allow the interchangeability of Hybrid Log-Gamma and V-Log L, for the Panasonic GH5. There are 3 variations of each conversion to accommodate the interaction of white balance with color space: Daylight, Tungsten, and an averaged conversion (4300k)." EmotiveColor.com PDF Download HLG Converted To V-Log L (Tungsten)

Yea, the Gh2 native color is definitely better, *especially under tungsten. With the dynamic range, bit-depth, and resolving power of the GH5, the potential is akin to a cinema cam. The color is a malleable 'chameleon' Thanks Mercer, they are both hacked Gh2, though Dani was only with my own slow motion patch, otherwise unhacked. Indeed, Victim is a more carefully done muted cinema approach to color and light, while E2 has the rougher pop-inspired, unlit approach of its predecessor. With GHa (and what's next), I'm going to do a narrative in the muted cinema style. It will be something to see ; )

Indeed, the image quality of the GH5 is much better than the GH2

Yes, the native GH2 color (with Smooth -2 and Flomo 2) is better than the GH5s native color. I will never sell my GH2, just because of its significance to me. Maybe I will do a GH5 > GH2 conversion for a bit of fun & nostalgia haha

Really nice @austinchimp, really nice. Some of my favorite shots yet. Had some really good progress yesterday internally, ecstatic atm

Happy to have you onboard! Excited to see your stills

@hyalinejim Looks fantastic Mike

Pere Puigbert just shared these stunners with me - Daylight (Soft)

@hyalinejim Thank you Mike; I appreciate that. The shots look great. @Jonesy Jones From James W:

Must have decided to go ahead with it; in context, 'get' seems like a probable buy

A year ago, I was contemplating picking one up when it hit the 12.5k mark. I priced it out at time, and looked at what I would need to get it in motion (all that I shoot), and decided to hold off. That decision ended up setting in motion the conversion idea for a somewhat smaller camera ;). I will still likely get one eventually, as I am a nutty fan, but it won't really be practical for personal shooting for me, because of the weight (the motion tools and crew needed for them etc.). It would still be nice to have one however, and I spoke to Roman Alaivi a while back about it (someone who ended up getting one when it hit 12k). Here are his thoughts: Hey man, yeah I did get a classic Alexa last December. I've loved it so far. Basically, in terms of functionality it is a beast and not quite as simple as the URSA logistically. It's big, uses lots of power and can be a bit of a pain in terms of getting up and running smoothly once you buy the camera. Here's what I had to get off the bat to make it just as useful / practical as the URSA. - 6 * 155WH Anton Bauer batteries. Each battery giving me approximately 1hr 15m. 6 batteries was the minimum to run a normal shoot for me. $1600 -O'Connor 2060HD head used $6k. O'Connor sticks, $1500. I suppose you could skimp out here and get another head... but man... this thing is no joke lol. You need a serious head. There's older versions of the O'Connor you could probably use though -4 * 64GB SxS media: $1k. This was the dumbest purchase, because I could have literally gotten a Gemini with an ARRI Raw licence for about that much, and multiple 512GB cards... so silly. Either way, look to spend about that much to make it useful media-wise -Hot swap battery plate, to run 2 batteries $300 -Good telescoping rosette arms. With other cameras, I could care less, but with how big the Alexa is, I pretty much needed exactly the right length of arm to make handheld feel as natural as URSA or other cameras. I got the shape handles for $1k. Might sound like overkill, but other rosette handles just don't hold up with how much weight you're bouncing around. The solid Tilta handles I had eventually wore-down and the rosettes didn't even lock into place properly because of the bumps and jolts they'd get tossing the camera around sometimes. There's a few more things for sure, but those were the main purchases. In the end, once I had everything I needed, it wasn't bad at all. Takes more time to setup for shoots, but less time in post. Footage looks so good, and just the ARRI REC709 LUT looks like a movie every time lol. I'd be lying if I said it wasn't worth it just for the look and how consistent it is no matter what I shoot. I've been loving it so far.

Thanks Mercer. This is a question that has been in the back of my mind since I released it - why haven't GH5s been sold out, why is the camera world so calm? My conclusion is that in general, awareness of what exactly it is needs more mustard. With what's coming up next, there will be significantly more effort put into getting comparative side by side shots between the cameras (of all models) in every manner of situation (all exposures, saturated colors, and skin-tones represented). It will make 'no separating them' really come together for everyone.

It is a fantastic little camera with a great image (& soon, there may be no separating the two..)

Hmm, I would be using it with a 2.39 crop. I love the equivalent of a 32mm on S35 at 2.39. That's my motion 'wide'

They have the same dynamic range (capped via the sensor), however bit depth is allocated differently. With Hybrid Log Gamma, the shadow noise range is more linear, and a bit more of the available bit depth range is used.

Mmm. I definitely need a normal lens option. I heard something about Metabones looking into anamorphic. If so, that would be significant as they do precision work with optics (making the impossible possible) That's a good idea. I was thinking about doing a reel next year, everyone will have time to use it on their projects I will be using it on my own work going forward; my next film will be something to see ; )

Hey, that's not too shabby! Its more of a curiosity for me, but maybe I'll pick one of those up. I wonder how a 35mm would perform with that .64 SB + 2X combo? A 'normal' field of view is most important to me

Paid VLog still has its benefits; there is the in-cam vlt monitoring, as well as the 8-bit modes. This is ideal for those who wanted to try V-Log, but weren't able to purchase it for the extra cost, as it is indistinguishable from actual VLog. Also, it allows you to shoot the formats interchangeably; as there is no penalty for choosing one over the other (perfect matching of material shot in either)

There may be a more cost effective option

"Precision conversions to allow the interchangeability of Hybrid Log-Gamma and V-Log L, for the Panasonic GH5. There are 3 variations of each conversion to accommodate the interaction of white balance with color space: Daylight, Tungsten, and an averaged conversion (4300k)." EmotiveColor.com PDF Download HLG Converted To V-Log L (Tungsten)

Thanks Majoraxis; By long shot I mean that it is a stretch that's at the edge of my current ability. It wouldn't be a look up table, but rather a 'living' conversion.

Its something I'm looking into; ideally it would be custom support for each light source. I'm working on a very difficult long shot at the moment which will address it There is a separate 6k photo mode I believe, where VLog is not select-able. And then there is the new anamorphic 6k mode that is selectable for video, and VLog works there for me Incidentally, what are the best reasonable anamorphic lenses right now?

If a re-shoot is at all possible, this is a really good idea