GH5 to Alexa Conversion

[filmspa]

Where can I watch more videos of GH5 using emotion color? I'm impressed with some of the pictures published here.

Will we able to use it in the BMPC4k also? I might buy one soon

[webrunner5]

Man all these new cameras are capable of outputting some serious Emotions.  A Happy, Happy screen grab  below. I will Soon have footage comparing it to all the new cameras that have come out I have on order! Not! Oh but notice the great DR in it. Ohh Groovy. Plz click on it to see the full resolution goodness.

Yeah that is how stupid it has all become on here as of late. ?

 

 

[Maverick530]

7 hours ago, filmspa said:

Where can I watch more videos of GH5 using emotion color?

Starting around 1:49 the rest is from the GHA

 

 

[Sage]

On 9/16/2018 at 2:09 PM, mercer said:

@Sage can you post another link to the manual? I know it is somewhere in this thread but I can’t read through the entire thing again and I don’t see it on your website

The Pdf is in the midst of a major revision that will bring it up to speed (and the filesize will be smaller); it's on the way

[Sage]

18 hours ago, Maverick530 said:

Im running into an odd issue, When I record recording with a ninja atomos now.

So, Prores in Premiere.

I add the Prores Pre into the Basic, then Daylight or soft in the creative. But once that is done, my levels will stop at 80 IRE, nothing will go past it.

Indeed, that's how to verify its working. When ProRes is displayed at the right levels, the maximum IRE for Main will be 78, Soft 76, and LogC 78.

This is the 'Sicario ceiling' that is a core function of Main/Soft (the aesthetic of the original Sicario). The next update will introduce something called 'Linear', that will run above 90

Though correct levels are covered in the current Pdf, the next Pdf will go into more depth regarding standard luminance placement for cinema. This will be key, because 'Linear' will likely invite exposing and grading placement that may break from cinema standard luminance.

13 hours ago, webrunner5 said:

Man all these new cameras are capable of outputting some serious Emotions.  A Happy, Happy screen grab  below. ?

Hehe, I love it!

[Sage]

17 hours ago, filmspa said:

Where can I watch more videos of GH5 using emotion color? I'm impressed with some of the pictures published here.

Will we able to use it in the BMPC4k also? I might buy one soon

Watch these in anything but Firefox (otherwise I love that browser). Ideally, watch in chrome with the RGB dev fix

'The Lane' is great:

This one is V1:

The interview portion:

V1 Era:

 

(While these often reflect earlier versions, and non-standard use in some cases, they stick out in my mind as having some really neat shots. 'Always Already' is the reference example, with Firecrest NDs for Day, and ensured correct post workflow)

[ykt.net]

Very good works ? Especially short horror film is great ! But what I noticed is that GHA color science makes video more retro (vintage) look. Am I wright you are saying that it is standard use ? Or what u are saying by "non-standard use". Also, is there any Arri Alexxa LUT's tested with GHA ? I want to see variations of use for this beautiful color science. Thanks.  

[austinchimp]

Hi @Sage

I've had great success with using EC on V-Log footage but I wanted to try it with Cine-D following your recommended settings. I'm having some trouble with the reds, which seem to shift hard to magenta in Premiere.

I shot in Cine-D, with Saturation all the way down, and applied your V2 Cine-D to V-log Pre conversion in the Basic correction Lumetri tab, then used the Soft Lut from your Verde release in the Creative Lumetri tab. I was using a Tiffen Vari ND but I don't think that accounts for the Red distortion. The footage is 8 bit 1080p.

Check out the screen grabs below. First one is straight out of the camera. Second is with the Emotive Color conversion, and third is a quick grade adding contrast and saturation to the Cine-D with no LUT used.

 

Any ideas what I'm doing wrong?

[Sage]

3 hours ago, austinchimp said:

Hi @Sage

I've had great success with using EC on V-Log footage but I wanted to try it with Cine-D following your recommended settings. I'm having some trouble with the reds

Its an interesting case. Arri places the reds toward magenta, but this saturated region in your Cine-D shot has a double curvature with the Cine-D PRE. The other reds in the frame are where they should be.

The shot appears to have a slight magenta shift in the WB (may be introduced by lens/nd), but this won't account for the region. Attached is a corrective POST file to place after the 'Soft' variation (and before a grade). A couple inquiries - does the file happen to be wrapped in ProRes? How did it look by eye?

'Soft' with the corrective and a slight WB:

GHa Cine-D Red-Magenta Corrective .cube

[austinchimp]

3 minutes ago, Sage said:

A couple inquiries - does the file happen to be wrapped in ProRes? How did it look by eye?

 

GHa Cine-D Red-Magenta Corrective .cube

Thanks. To my eye the cine-d looks pretty accurate. Maybe technically there's a small shift to magenta if you use scopes, but the red jacket was nowhere near hot pink in real life.

It was straight out of the camera, so not transcoded to Prores. I'm still using a pretty old version of premiere - 2017 edition. Not sure if that has any bearing on it. I have found previously that Premiere does have a tendency to do this to red on occasion, where as Resolve will not, even with the same footage and same Lut. Never found an explanation for it.

[Sage]

9 minutes ago, austinchimp said:

Thanks. To my eye the cine-d looks pretty accurate. Maybe technically there's a small shift to magenta if you use scopes, but the red jacket was nowhere near hot pink in real life.

It was straight out of the camera, so not transcoded to Prores. I'm still using a pretty old version of premiere - 2017 edition. Not sure if that has any bearing on it. I have found previously that Premiere does have a tendency to do this to red on occasion, where as Resolve will not, even with the same footage and same Lut. Never found an explanation for it.

Oh yea, that is, with the PRE there's a double shift to magenta from where it should be with the jacket red. The POST corrective will address this. The Cine-D itself is good, and has subtle variations of red hue

Yea; I noticed this oddity with Premiere ProRes; I've got to do a PRE for it eventually

[Sage]

On 9/23/2018 at 9:54 PM, ykt.net said:

Very good works ? Especially short horror film is great ! But what I noticed is that GHA color science makes video more retro (vintage) look. Am I wright you are saying that it is standard use ? Or what u are saying by "non-standard use". Also, is there any Arri Alexxa LUT's tested with GHA ? I want to see variations of use for this beautiful color science. Thanks.  

Main/Soft are low contrast color bases resembling film; it may indeed work well for a retro film aesthetic (as in 'Tilian - Cocky'). For non-standard use, people often use it in unexpected ways that will move away from true Alexa color. There's been a variety; grading before the conversion, using the conversion at a percent strength, using non-full spectrum NDs, using the Lumetri luma curve, shooting HLG/Cine-D over VLog (this is about to improve), grading LogC directly without a display Lut, placing black level very high (above 5 IRE), placing luma brightly (faces above 45 IRE anchor), ETTR into the rolloff, combining the LogC variation with Main/Soft

For Alexa luts, do you mean the Arri display luts for Rec709 etc? I'm going to do SBS comparisons with a variety of Lut options soon. Wild Ranger uses LogC film conversions with GHa occasionally, such as in Basta above

 

 

 

[ChristianH]

Sage, this is bloody amazing. I've read the whole thread now and watched just about every video posted. I didn't really consider the GH5 (small sensor etc.), but with these settings, it blows everything in its price range away. Sony colors look mighty wonky compared to this. If I get a GH5 this is an insta-buy.

[mirekti]

@Sage Will the new PDF contain instruction of "optimal" setup?
In other words, what camera settings are expected (sharpness level etc.)?
How do you prefer to expose? ETTR or 55 IRE for the skin tones (by the book)?
What is your post process, do you apply Noise Reduction and Sharpening or simply throw the LUT and play with curve a little bit?
Any other tip would be welcome as well.
Thanks!!! 

[mercer]

That Ireland video is gorgeous. I prefer a little blue in my greens... I think that has a more Alexa look (of course I’m basing that from graded Alexa material) but whatever, that’s an easy fix with Hue/Saturation curves and the Ireland video still looks great!!!

Damn, every time I’ve convinced myself against the GH5, as a second camera, another GHa video gets posted and mucks up my plans.

[Wild Ranger]

Yeah the Ireland video has a beautiful feel, i love those hues of blue. 

[thebrothersthre3]

Really makes me consider getting the GH5 again. 

[hypp]

I currently own the BMPCC and never considered the gh5 due the colors/look but this LUT changed my mind. How does the GH5 stack up against the BMPCC/BMMCC with this lut?

[ChristianH]

20 hours ago, mercer said:

That Ireland video is gorgeous.

Yeah, I'm really in love with that color. Wish I knew his settings/workflow. 

[mercer]

28 minutes ago, ChristianH said:

Yeah, I'm really in love with that color. Wish I knew his settings/workflow. 

Yup, there’s a few shots with the girl in the blue raincoat and the blue in the coat is simply beautiful. The GH5, even in 1080p, with Sage’s color, really turns that camera into something else. It has such a modern, digital cinema look to it that I have grown to appreciate. Add the IBIS and voila, you have a handheld cinema camera that the straight out of box color didn’t previously have. I’m still happy with the camera I have but as prices drop on the GH5, I’m definitely keeping the option open.