Panasonic GH5 ReviewĪfter a short delay, here is our long awaited Panasonic GH5 lab review. Here is our lab analysis, where we will evaluate all the pros and cons of the new GH5 sensor, with a focus on the new 4K 10-bit mode. It is the first of its kind to finally break the barrier towards a compact form-factor 10-bit 4K acquisition in the realm of (somewhat) large sensor cameras. The Panasonic GH5 is one of the most highly-anticipated compact cinema cameras of the year. Read the update notes and clarification HERE. keyboard_arrow_rightCameras of the Year. keyboard_arrow_rightGear Guides by Type.keyboard_arrow_rightGear Guides by Budget.This LUT gives you the option of checking both the raw image and the LUT corrected one. I made the mistake once of thinking the look I had loaded into the RED was what was affecting the FC, and ended up having some spots that clearly showed me that they were over exposed in FC mode actually end up over exposed, and were not the result of the look throwing the scale off. So that way you can check both, like with the RED. So having this LUT loaded into the unit helps immensely for checking raw V-log exposure without the display LUT applied. The confusing thing about this and Vlog in general is the "compressed" scale it uses to get the logarithmic exposure gradient (4 above and 8 below middle gray at 42IRE maxing out at 81IRE) Without a viewing LUT on my Atomos, the built in FC on the monitor doesn't read the raw correctly, but when the Panny Vlog lut is applied it moves into a 0-100 scale and the FC works properly. Green is 42IRE - ideal skin tone exposure (Middle Gray) for VLog (Also a very narrow band) (There may be a middle gray band, I just haven't seen it yet) Pink Is 55 IRE - skin highlights (this is a narrow band maybe 2IRE on either side of 55) (not shown here but did show up on another test - light gray - 60) (not shown here but did show up on another test - Pale yellow - 65) Yellow is around 75 IRE - very little detail In this example, other than the extremes 81 (clipped white) and 7.3 (black), these values are roughly the center of the color band. So if you're a RED user and want the same FC mode you're used to looking at use V3. I downloaded them and tested them in Davinci against the raw V-log footage and on the Atomos, and V3 seems to give the most accurate FC data in-line with the scale most of us are used to working with on RED cams, and Atomos monitors. Currently there is space for 4 custom LUT's on the GH5. The camera will remember the last installed LUT's. So you can have a spare small SD card with as many LUTs as you want- then install them as you see fit. One really cool thing about custom LUTs on the GH5 is that once you install them they are saved onto the camera. Here is an image of my Keyboard with FC in VLog-L & Zebras as 55IRE: Set 18% grey card to 42 IRE (not usable in GH5 as we can't set Zebras that low in VLog-L).Exposing properly for VLOG-L is the key to getting the best results aim to expose an 18% gray card at about 42 IRE, keep your Caucasian skin highlights to below 55 IRE, and set your Zebra 2 to 75 IRE to keep from clipping highlights. If your project can afford the time to conduct the proper post-processing required, VLOG-L gives you the broadest canvas on which to paint your images. VLOG-L gives the widest dynamic range and the most post-production exibility from a DVX200. Also the DVX200 has the similar limited dynamic range of the GH5 (not being a Varimac LT etc). That document mentions the DVX200 but as that also uses VLog-L I see no reason to not use it. To get your head around exposing for VLog_L this document was a life saver for me:
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