Zak Forsman

Yeah, i think midtones are where the sacrifice in tonality hits the hardest. Incidentally, some of James Miller's V-Log LUTs have some kind of noise reducing voodoo. Not all, but I've come across a few that manage to suppress noise even in a low contrast look.

and here it is... http://zakforsman.com/a-dynamic-range-and-tonality-comparison-of-v-log-l-on-the-gh4/

Here is V-Log L at 8 bit, captured internally. And here it is at 10 bit, captured externally. These are 1:1 extractions from the 4k frame. Wrote more on the subject here... http://zakforsman.com/a-dynamic-range-and-tonality-comparison-of-v-log-l-on-the-gh4/

yeah, i've got a video uploading to vimeo right now that shows the huge difference between 8 bit and 10 bit. i'll leave the download option enabled so everyone can grab the 10 bit upload. i happen to have a 10 bit monitor so the difference is even more evident but you'll be able to see a clear distinction on an 8 bit monitor too. the cyan/magenta artifacting is pretty ridiculous as well. given that I'd be using V-Log L with an external recorder, i'm still left with choosing increased dynamic range and decreased tonality, or vice versa by using Natural, Cinelike, etc.

all right, i tested it for myself. 10 bit vs 8 bit. internal vs external. v-log vs cinelike and natural. and for me, it's pretty clear now what v-log is and isn't capable of on the gh4. i've got stuff uploading... will write it all up on my blog when it's ready.

it's possible they're not related. here's the post about the magenta/cyan thing. i'll do my own test to see if it exists in 10 bit. from my night footage, with the V709 LUT applied, the reds would go berserk with chunky noise and this unevenness looked like a similar/related issue. here's the post I read about the issue in 8 bit. http://www.dvxuser.com/V6/showthread.php?340370-Exposing-V-LOG-L&p=1986577386&viewfull=1#post1986577386 haha, yeah, if I had left the soundtrack intact on the cut video, you would hear me mumbling "jesus fucking christ" every time it revealed itself. but last night I was more interested in color and dynamic range, so i let it slide.

My biggest concern with V-Log right now is I'm seeing Magenta/Cyan blocking. It's easiest to see against a flat gray gradient, like a wall. Someone posted a comparison with Cinelike D that illustrated the difference pretty well, but I can't find it now. It's more apparent in the V709 version of my video. The DELUT verision seems to suppress it.

this looks great!!

I used one of James Miller's new V-Log LUTs (AA20) for a moody look. This was shot at ISO 1600 because I wanted to see how bad it would look, given all the complaints about noise. To my surprise, this LUT does a fine job of suppressing it. It's a darker grade but there is more going on than that. A pass of the same clips with the Varicam V709 LUT follows for comparison. That's also the LUT I had loaded into the Odyssey 7Q+ while I was shooting. GH4 + Helios 44 + Metabones Speed Booster + ISO 1600 + V-Log L (-5, -5) + Captured in 10bit ProRes HQ + LUT AA20 by James Miller GRADED V709 So while Vimeo compression has hidden half the noise, I gotta say I'm kinda okay with how the noise looks. It gets pretty disgusting when you move NR above -5, in my opinion. But leaving NR all the way down let's the noise be fine and detailed, which I prefer to murky and glompy. I rarely shoot above ISO 800 but given the right context, the right kind of movie, I think it works.

Nick Driftwood is tweeting about "zebras and highlights" not working the way they should with the V-Log L workaround. Anyone know what he's talking about? I haven't had a chance to implement mine yet. Although supposedly I'll have the real deal from Panasonic this week so i might just wait.

because the sky is purple in the version processed by their app.

i downloaded their video and the side by side comparison of the girl running isn't made from slightly different angles, it's got a 1 frame offset so the frames don't match up unless you step thru frame by frame comparing to the frames before or after. here I fixed the offset. what *really* concerns me is the affect their post processing might have on color.

their originals are shot with a fast shutter speed to keep motion blur to a minimum. which is likely why they've included post option blur in their app.

v2.3 of the firmware is up. http://av.jpn.support.panasonic.com/support/global/cs/dsc/download/fts/index2.html got a little excited when I saw the V709 LUT labelled as "for GH4" but after unzipping it, it seems to be the same one we have for the Varicam. and I don't see any other features added other than what's needed to activate V-Log L, other than being able to pause a time-lapse recording.

I was wrong. The 35mm 2x and 1.33x lenses are $2500 and the 50mm and 70mm lenses are $3000 each. 2x Technical Data: SLR Magic ANAMORPHOT-CINE 35mm T2.4 SLR Magic ANAMORPHOT-CINE 50mm T2.8 SLR Magic ANAMORPHOT-CINE 70mm T4 Lens Type: Anamorphic lens Squeeze factor: 2x Camera mode: 4:3 Anamorphic Objective front filter thread: Φ82 Mount: micro four thirds Lens Coating: Multi Coated Close Focus: 3’6 Weight (oz./g): 47.9/1,360 Length (cm): 19.25 Diameter (cm): 10 Suggested aperture setting: T4-5.6 Image Circle: mFT for 35mm T2.4, S35 for 50mm T2.8 and 70mm T4 MSRP : $2,499 for SLR Magic ANAMORPHOT-CINE 35mm T2.4 $2,999 for SLR Magic ANAMORPHOT-CINE 50mm T2.8 $2,999 for SLR Magic ANAMORPHOT-CINE 70mm T4 1.33x Technical Data: SLR Magic ANAMORPHOT-CINE 35mm T2.4 SLR Magic ANAMORPHOT-CINE 50mm T2.8 SLR Magic ANAMORPHOT-CINE 70mm T4 Lens Type: Anamorphic lens Squeeze factor: 1.33x Objective front filter thread: Φ82 Mount: Aluminium PL or Titanium PL compatible with optional EF adapter Lens Coating: Multi Coated Close Focus: 3’6 Weight (oz./g): 38.8/1,100 Length (cm): 13.5 Diameter (cm): 10 Optional accessories: PL to EF adapter Suggested aperture setting: T4-5.6 Image Circle: S35 for 35mm T2.4, FF for 50mm T2.8 and 70mm T4 MSRP : $2,499 for SLR Magic ANAMORPHOT-CINE 35mm T2.4 $2,999 for SLR Magic ANAMORPHOT-CINE 50mm T2.8 $2,999 for SLR Magic ANAMORPHOT-CINE 70mm T4

for the price, I'm thinking somewhere south of the cost of an slr magic lens + anamorphot 2x + rangefinder. less than $2000 each?

Just noticed that B&H Photo now only let's you pre-order V-Log L and estimates availability on October 7th. I assume that means their initial inventory is already spoken for. Just checked my direct order with Panasonic and it still says mid-september for the estimated delivery. So hopefully we'll start to get it as early as a week from now.

everyone take note, this will be on my wishlist for xmas. thanks in advance!

It's more than double the cost of the Blackmagic Video Assist, but this is smallest, cheapest 4K recorder I'm aware of. Video Devices PIX-E5H. 5" screen. $1200. http://www.bhphotovideo.com/c/product/1137222-REG/video_devices_pix_e5h_5_4k_recording.html

Did i misunderstand? I read Bror's post and it sounds like he's saying he can't afford a Variable ND so he wants to buy a regular ND that cuts 4 or 5 stops.

Hoya ProND line. Buy from Greg here at his eBay store. He's selling genuine Hoya ND filters at a great discount. The ND32 will cut 5 stops. http://stores.ebay.com/photo4b-eu

Here's a three-way comparison of Art Adam's AA709A, Alexa LogC to 709, Amira LogC to 709. http://imgur.com/a/Y8Mvq#0

Here is the V-Log to V709 LUT if anyone else is wondering where to get it. http://pro-av.panasonic.net/en/varicam/35/dl.html

You can't complain about compression looking at a Vimeo upload. That's like complaining that your food is cold an hour after it was served to you.

I downloaded and brought Nick Driftwood's 10 bit V-Log L samples into Davinci and applied the Panasonic VLog_to_V709_forV35_ver100 LUT, and also the Arri Alexa LogC to Rec709 LUT. Created this album on imgur to make comparing them easier. http://imgur.com/a/FGcTr#0 My intent was to start looking into what LUT I will want to load into my monitor during production. Ultimately it will be a custom LUT but one of these will serve as the basis.