![]() ![]() I just want to set an appropriate input space as a kicking off point (save me a bit of balancing/normalising work too), but I am not knowledgeable enough to know how much leeway there is - ie will i mess up my pipeline if i set the wrong input space? From what you and John seem to be saying, panasonic v-log is fine to use as the input space for v-log L? Don't think i quite articulated that in my original post. I'm trying to set up a davinci yrgb colour managed workflow, so that i can do my grade and then let davinci remap my output colour space in dcip3/709/2020 at a later date for deliveries. I probably should clarify that I'm not specifically trying to use a lut to get to a 709 final look. So apply the v-log LUT, then adjust the controls to taste. In Resolve, when you apply a LUT to a node, it is processed after any other controls of that same node are applied. This is done by applying the LUT or transform and adjusting the grading controls with those controls applied to the clip before the LUT or transform. So as mentioned above you have to adjust the clip to work in the LUT or transform. Which is NOT the same as nearly any clip you're ever going to grade. They're just a lookup table with fields for pixel input value->output value.Īnd the ones you're talking about are created in a studio environment with perfect color and contrast lighting plus camera exposure. Now we just have to wait for the GH6 to show up.RNeil H wrote:LUTs are routinely called dumb math. Maybe not a huge improvement over the original, but that model was already very good. It does show that the GH5 II, even with its relatively small sensor compared to a lot of competition, does a fine job in low-light conditions.įaster lenses and care with your ISO settings will matter, but the GH5 II is great. A lot of ISO 1600 clips were great and very clean. Once again, ISO 12,800 is where you might hit your limit for sure.Īfter running through the studio scene, Dom shows off a bunch of low-light footage so you can see how it works in action. ISO 3200 has some color shift and noise in the shadows and ISO 6400 is getting into questionable territory. ![]() Interestingly, Dom reports that ISO 400 and 800 are good, but not quite as good as the V-Log L equivalent settings. ![]() Moving to the Natural profile you can head to a starting value of ISO 200, which of course is incredibly clean. This is the highest you can go in log anyway. ![]() At ISO 12,800 you are getting into tougher territory as the shadows show some distracting noise and pick up a green tint. Come ISO 6400 you might start getting a bit of noticeable noise though it is still very usable. ISO 3200 is very well managed with some noise showing up in the shadows. ISO 800 is essentially the same and only at 1600 do you see a little bit of noise start to show and even that is not a big deal. Starting at ISO 400 you can see it is perfectly clean. V-Log L is the place to start and it is nice to see that it is natively available on the GH5 II instead of having to purchase an optional upgrade. The test focuses on using V-Log L and the Natural color profiles with most of it running in the studio test. If you are curious to see how the new model stacks up. How this affects low-light performance is a good question.ĭom at LensProToGo has done a nice test of the ISO and low-light capabilities of the GH5 II, even including different profiles, such as V-Log L. Among the small changes is an update to processing performance and the built-in color profiles. The just-launched GH5 II from Panasonic isn’t a groundbreaking camera – the upcoming GH6 will hopefully be that – but it is a nice update of one of the most powerful and popular mirrorless cameras designed for video. ![]()
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