Ki Rin

Pretty exciting cameras. I don't know much about the system. Is there a range of affordable lenses or are they all really pricey?

I read the section on color management in the resolve manual last night, and it seemed to be that CSTs are the preferred method over luts for this kind of thing. The reasoning being that CSTs are non-destructive so you can still get any data thats out of bounds (provided it wasn't clipped in the original footage). At least that was my understanding. Color is incredibly complcated, and I can't say I understand it well. I'll see how I go with the approach I outlined above, and report back.

If you get a chance, try the workflow I outlined in the previous post. It's actually really easy, and so far seems to be working well. As for shooting, I have found that it's really important to have zebras turned on, and also glance at the histogram from time to time to get the exposure right. You can't really trust what you see on the monitor in HLG. I basically made sure I was ETTR just under the point where zebras would show up. Doing that makes the clips "look" over-exposed, but all that data is there and when you set the color space, shifts back to a normal exposure.

Thanks for the replies guys. Based on some of the suggestions above, and reading the manual, I think I've come up with a workflow that works pretty well for me. For anyone who is interested, the key steps are: 1) In project settings, use Davinci Color Managed. Set input, timeline, output to rec 709. Set "Timeline to Output Tone Mapping" to Luminance Mapping. 2) In media page, select all the GH5 clips, right click and set "input color space" to "rec 2020 Gamma 2.4". 3) Leave the other camera clips (in my case sony cine2 files) to the default project settings (rec 709). 4) Edit and grade as normal. This way I get a decent starting point for the GH5 HLG clips, and I can actually see them properly while editing. And doing it this way instead of messing with luts, it seems like I don't lose any data, so I am able to recover highlights etc. From my initial tests, this seems like it will work for my needs, and is the most simple and painless process I could find. Of course, its still a bit of a pain to match the 2 cameras, but there's no way around that with the equipment I have, and on the bright side, its a good chance to practice my color correcting skills Just to re-iterate, I'm not delivering HDR. The only reason I am shooting in HLG is for the added dynamic range. I just didn't know how to get the footage to not look horrible since it is basically log footage, but there didn't seem to be a lut or color space specific to the GH5 HLG. I'm still not sure if what I'm doing is "correct", but it seems to work for me, so I'm moving forward until I learn a better way.

Yes, I've been debating the color chart, but it seems very expensive for what it is. Anyway, I will try your suggestions first and see how it goes.

Thank you! That was a very informative post! I wish I could watch the video, but I don't understand any russian unfortunately. Method 3 suits me the best, but I'm having trouble finding out what my input should be with my current PP settings on the sony. Its the a7rii so no HLG unfortunately. As you suggest, I should try with the s-gamut setting and see if that gives me a good starting point. I'll try that tomorrow and see how I go. Thanks again.

Thank you. That sounds like what I need. I just tried it, but unsure what to choose as the input color space. For the HLG footage I'm guessing rec 2020. I tried it and it does look better for the gh5 footage. For the sony, no idea what I should choose as the input. I'm not shooting s-log, but rather a PP based on cine2 gamma. Thank you, I wll try to up one later Unfortunately, since I am also using a Sony camera and need to match shots, that workflow wont for me.

I'm having a bit of trouble color correcting HLG footage from the GH5 in Davinci Resolve. Especially getting skin tones looking natural, and matching other footage. I'm not sure what my project color settings should be... I've tried experimenting by changing input gamma to HLG, which does seem to provide more pleasing color results, but puts the exposure way off. However, changing the input color space isn't really an option for me, since I am also editing footage from the sony a7rii, which does not support HLG. Can anyone give me some advice on how I can get the HLG footage looking more neutral and match it with the sony footage?

40 minute non-removable battery could be a bit of a deal killer though.. Everything else looks great.

https://www.kandaovr.com/qoocam-8k/ This could be it. 8K. 1/1.7-inch sensor 10-bit video. 12-bit stills.

I'm more interested to see what their new 360 camera will be like.

Nice work! May I ask, with a project like this, how much of it is planned? I imagine it is pretty hard to plan a lot of it since you don't have that much control over what you will find at each location, but on the other hand, it seemed like some of the shots were deliberately planned out to lead into the next one. I'd love to hear more about this process.

Thank you, something like that looks like it would help a lot. I'll try and pick one up. Or maybe even make one.

Hi guys, I don't have much experience recording audio, and am having trouble getting clean sound. I've tried using an on camera Takstar SGC-598, and it sounds good, but I'm getting a lot of boomy sounds when I'm moving with the camera. I also tried mounting the Zoom H1 on camera and got the same problem. Is that because these mics don't have proper shock mounts on them? Is there anything I can do to get cleaner sound with the equipment I have? I also tried removing low end in post, but it only helped marginally.