Wild Ranger

Nope!

Yes, is much easier to work. Sometime I use film stock luts for LogC. it depends on the project.

The black magic cameras still have the advantage of having a "Real" Log profile. These little cameras (gh5, sony a7, canon...) don't have good analog-to-digital converters in terms of video processing, so they don't end up getting all the potential of the sensor in their Log profiles. Take for example, A7III vs Sony FS5, in Slog FS5 gets more detail than the more newer a7III sensor. That's where black magic did it well, and that's why their cameras are so power hungry.

Yes, I do prefer shooting in CinelikeD, it uses more of the bit depth and i honestly don´t see a difference on dynamic range to justify V-log. I like to convert it to LogC and the push it from there.

Hello! Thanks for the comments, I really like you guys take the time to watch it. Here I share some still, Pre-and-post color grade. The raw was shot on Cine-D and then converted to LogC. I didn't have the time to try the "Main" grade, maybe someone wanna give a try? ?

Hi everybody! It´s been a long time since the last time i pass on this forum. Now i wanna share my last work, a fashion/music film. Shot with GH5 and using @Sage Alexa color for starting point in the grading. Using 2,21 aspect ratio. Mastered in 2.3k (2386x1080) Hope anyone can enjoy it. PS: Soon I'll share some stills for comparison.

Agree, i don't own a Sony a7III but Sage, you have made something cool here, and I think that It should be expanded.

@Sage, here i bring some stills to share. Daylight interior. With a grade and without, raw shot in Cine-D. Feel free to experiment!

Looks very good, i haven't did to much test and i wanna see how the highlights behave.

Great, I'll try to make some daylight interiors soon.

@Sage, do you want tungsten...? Here you have tungsten. I'm uploading stills with a color grade, and without in Cine-D. There are some lighting variations, with a redhead bounced doing some fill, and other with a lower key. Sorry for the framing, I was alone.

@Sage Like it! it's so under exposed and warm that reminds me The Godfather. Nice!

Oh, i have a question! Is this "Verde" new release supposed to replace the actual daylight or is only a different look?

Here are the stills in Cine-D. These are shot with Daylight balanced leds (around 5500K with a little shift of +3 to magenta). I have some tungsten bulbs around, I will share some stills with them as soon as I can make a test.

Hi sage, I shot all in CineD, i don't use vlog for a convenience matter. But i can share you raw stills of these clips. If you what i can try shot something in tungsten lights for test and share it here.

Here are some stills in color from my last test with the Pancinor lens. I'm more bias toward deep contrast more "drama like" and cooler tones.? Really loving the contrast and skin tones that i can get with the Alexa conversion!

Thanks Sage, i really appreciate the feedback! I used the normal 4:3; the one which is h264, 10 color for 25fps and 8 bit for 50fps. I suppose the codec is the same. I didnt used the 6k 4:3 because i needed the Ex tele converter in camera to frame the shot, also I know the 6k 4:3 uses h265 codec. Still a 4:3 pre will be awesome! that 2.2 soft looks nice!

Here is, I just uploaded! I was just playing with the lens, it soft but i love the character. I'm thinking in using it on some music videos, maybe some narrative film. The film-noir suits very nice with it. I shot everything in the 4:3 anamorphic mode so i can frame correctly, then cropped in post. Maybe i will post a 4:3 version. Film grain is real super 16 that I shot my self.

Hi everyone! I'm just passing by to show this... It's a Som Berthiot Pan-Cinor 17-85 f2. Old C-mount lens from super 16. In a couple of hours I'm uploading a video test I show with this one, using Alexa color and some Super 16 film textures that had shot my self a couple of years ago. ...

Thanks @mercer comments and opinions about one's work are always very appreciated! ? That's the real magic of making films and other stuff, you have know how to put all the elements together, pretty images are only that... pretty images. I have shoot a feature during 3 years with a Nikon D7100 and D5300, and also a couple of super 16mm cans (Fuji Eterna); and I'm pretty satisfied with how the film end up looking. But It's also the hole production value that's in there that make the film look nice, not only the camera. I think what you have made with this luts is great, it' just give some really nice color to the GH5, and i'm not really that picky if it's 110% accurate, for me it's just works.

I tried different methods, in this used Filmconvert for Arri Log-C

Hi everybody. I just want to share a frame of a mini test i did. I used the Daylight LUT and converted to Arri LOG-C. The Skintones are incredible! Damn I'm looking good!

That's funny because it sound like a similar problem i have found in my GH5 a few month ago. I have made a post about it but almost nobody saw it. I have tried two gh5 bodys and they do the same.

Yes, you have to change the lens, and that is why you use crop factor. But the camera stays in the same place and perspective wont change. I agree in part with this, but what you are talking is distortion, and not perspective. Perspective is the relation of objects in a space, that is affected buy the placement of camera. The distortion can happen, but i agree only in part because it depend in lot of factors as lens design, manufacture, the year and style of the lens. Remember that the classic anamorphics of the 70's has a lot of distortion compared to modern one, they look some more like wide lenses in some cases, even a 50mm. The example of your 50mm is not that valid because a 50mm in Medium format its wide, and looks like a 30mm, obviously with the same DOF of the 50mm.

I don't bite on this classic argument. Perspective doesn't change (at least it shouldn't) because the camera is set at the same distance, that's why you use crop factor for measurement.