News Shooter: Panasonic AU-EVA1- 5.7K Super 35mm Canon EF mount camera for under $8,000US

http://www.newsshooter.com/2017/06/03/panasonic-au-eva1/

Panasonic: 5.7K Super 35 Handheld Cinema Camera | AU-EVA1

http://business.panasonic.com/AU-EVA1.html#sc_sp=business-category_featuresAd_products-professionalvideo-cinemacameras_AU-EVA1&start=1&cgid=products-professionalvideo-cinemacameras-aueva1

Grading Panasonic Lumix GH5 Footage? This List of LUT Plug-Ins and Color Grading Utilities for Final Cut Pro X May Be Useful – UPDATED

A number of Panasonic Lumix GH5 owners using Final Cut Pro X with LUT loading plug-ins have reported varying LUT interpretation results with 8-bit and 10-bit footage. The problem involves clamping or lowering the footage superwhites after LUTs have been applied. 

High whites are well-preserved in GH5 V-Log 10-bit 4:2:2 footage with Leeming LUT One applied in Premiere Pro, before and after

The most common problem reportedly does not appear in Adobe’s Premiere Pro NLE using the Lumetri Color panel, but seems to be centred on Apple’s Final Cut Pro X or more specifically some current versions of third party LUT-loading plug-ins.

So far the specific causes of this problem, and its permanent solution, have not been 100% identified, but it may be useful to share a list of the free and paid-for LUT plug-ins and related software that are currently available. If the cause resides in one or more specific LUT plug-ins, then it may be wise to try out others on the list below.

Meanwhile Premiere Pro itself has some problems with correctly supporting 8-bit and 10-bit GH5 footage and Blackmagic’s DaVinci Resolve colour grading software-cum-NLE also seems to incorrectly clamp super whites after LUTs have been applied.

LUT and colour grading plug-ins, and applications

  • Chromatic – currently undergoing development, CoreMelt’s Chromatic color grading plug-in is their “all in one color grading plugin that combines curves, color wheels, tracked masks, inside-outside mask grades, selective color correction, LUT loading and management and degrain, regrain all in one tool.”
  • Color Finale and Color Finale Pro – colour grading plug-in suite with LUT loading capability, made by Denver Riddle of Color Grading Central.
  • Epicolor – intriguing new product by Lemke Software, available through FxFactory, includes a post production LUT application feature.
  • FxFactory – retails a catalog of plug-ins and effects for Final Cut Pro X and other NLEs including colour grading plug-ins.
  • FCPX LUT Loader – free plug-in for Macs running macOS Sierra and later, made by FCPX plug-ins specialist Pixel Film Studios, which offers a number of LUT looks packs for purchase.
  • LUT Buddy – free LUT loader plug-in by Red Giant, formerly available as a separate download but now included in Red Giant’s Magic Bullet Suite 13, available in a trial version.
  • LUT Gallery – according to maker Denver Riddle of Color Grading Central, the “most powerful way to do color grading with LUTs! Includes Auto WB Color Picker”.
  • LUT Utility – by Color Grading Central, also maker of Color Finale.
  • LUTx – FCPX plug-ins maker CoreMelt states that LUTx is “the most powerful LUT solution for Final Cut Pro X” and retails a number of looks LUT collections.
  • mLUT – free LUT loading plug-in by motionVFX, retailer of a range of looks LUT packages.
  • ScopeBox – professional scopes application for macOS computers, that allows feeding video from a range of DIT tools and Adobe video software as well as Final Cut Pro X into ScopeBox via ScopeLink. ScopeBox maker divergent media says that “the scopes found in most desktop editing applications leave a lot to be desired – they’re not accurate, they’re slow, and they’re not configurable”.

The crux of the problem and a workaround

Paul Leeming of Leeming LUT One describes the problem as follows. The LUTs from his unified, corrective LUT system are “designed to maximize dynamic range, fix skin tones, remove unwanted colour casts and provide an accurate Rec. 709 starting point for further creative colour grading”.

The Leeming LUT One system provides “the best possible settings to maximise dynamic range and image quality for that camera, while minimising noise and other unwanted artefacts”. Thus the system’s LUTs are “designed to work with the full float levels of the video clips as they come out of camera”.

“Some cameras stop at 100 IRE, but others such as Panasonic and Sony retain superwhite up to 109 IRE (usually), so my LUTs are designed around that limit, not the 100 IRE limit,” Mr Leeming says.

He offers one potential workaround, until LUT plug-ins are updated to support float space. “The easiest temporary solution is to adjust IRE for clips to fall within 0-100 IRE, then apply the LUT, as in theory the distribution of values in float space should be the same. That should avoid clipping”.

Mr Leeming notes that he designs Leeming LUT One in Premiere Pro which “handles superwhites with the LUT directly” and “no need to pull down exposure” and was “not aware that there were programs which didn’t pull down superwhites or lift superblacks”.

A more permanent solution

Roger Bolton of CoreMelt, developer of Chromatic and LUTx, has further insights into the problem and its solution:

A LUT is defined in the color ranges 0-1 in float with 1 being defined as the highest legal level (100 IRE). You can stretch the LUT out to handle the additional levels but that’s changing the look of the LUT if it was designed on legal levels. There’s not really a “correct” solution that I’m aware of, so how a LUT loader should handle this is something that needs flexibility.

As Chromatic is currently under development, Mr Bolton says that “we plan to allow a few different ways of dealing with the issue” and has asked users to send him their requests. He states that LUTx will be updated to handle superwhites and Chromatic will also handle them when released.

Update

CoreMelt has released Chromatic and its is available as a 14-day free trial or as a special launch offer for one week only, closing at Pacific Standard Time (PST) 7th August 2017. The special offer contains Chromatic and over 150 LUTs.

Links

Image Credits

Still-frame from footage shot by Paul Leeming with Panasonic Lumix GH5 using V-LogL and Leeming LUT One GH5 settings then processed in Premiere Pro with Leeming LUT One for GH5.

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Clicking on these affiliate links helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.

Camera, Kits, Battery Grip and V-Log L

  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera (Body Only)B&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera with 8-18mm Lens KitB&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera with 12-35mm Lens Kit – B&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera with 12-60mm LensB&H
  • Panasonic DMW-BGGH5 Battery Grip – B&H
  • Panasonic V-Log L Function Activation Code for DMC-GH4, DC-GH5, and DMC-FZ2500B&H

SDXC V90 cards

  • Angelbird 64GB AV Pro UHS-II V90 SDXC Memory CardB&H
  • Angelbird 128GB AV Pro UHS-II V90 SDXC Memory CardB&H
  • Panasonic 128GB UHS-II V90 SDXC Memory CardB&H

L-Plates

  • Really Right Stuff L-Plate Set for Panasonic Lumix DC-GH5 Camera Body  – B&H

Camera Cages

  • Movcam Cage for Panasonic GH5B&H
  • Movcam Cage Kit for Panasonic GH5B&H
  • Seercam GH5 CageB&H
  • Seercam Cage for GH5 with Classic HandleB&H
  • Seercam Extension Kit for CUBE GH5 CageB&H

This is the Video that Convinced Me Panasonic’s GH5 4K 4:2:2 Stabilized Autofocus Camera is Ready for Serious Handheld Documentary Production

Panasonic’s amazing new Lumix GH5 Super 16/Micro Four Thirds 4K 4:2:2 10-bit camera combines eagerly-anticipated autofocus functionality with what may be the best stabilization going right now, but videos clearly demonstrating both feature sets in action have descended into something of a fanboy slanging match. 

It was a relief, then, to come across a short movie that does the job straight off the bat, effectively and without commenter conflicts or fanboyisms, showing off the benefits of the GH5’s autofocus and in-body image stabilization for video along with the optical beauty of the Olympus M.Zuiko 40-150mm f/2.8 Pro lens.

Goodbye shakeycam, your time is done.

The Olympus M.Zuiko Pro lens lineup as of April 2017, and it is rumoured that 17mmm f/1.2 and 45mm f/1.2 primes are in development. From left: Olympus M.Zuiko Digital ED 7-14mm f/2.8 Pro, M.Zuiko Digital ED 8mm f/1.8 Fisheye Pro, M.Zuiko Digital ED 12-40mm f/2.8 Pro, M.Zuiko Digital ED 12-100 f/4.0 IS Pro, M.Zuiko Digital ED 25mm f/1.2 Pro, M.Zuiko Digital ED 40-150mm f/2.8 Pro and M.Zuiko Digital ED 300mm f/4.0 IS Pro. I look forward to Olympus adding more fast professional-quality colour-matched primes to the M.Zuiko Pro lens lineup.

I am partial to the Olympus M.Zuiko Pro prime and zoom lens range for documentary work, not least for the lenses’ matched colour rendering as well as their weather resistance, solid build and repeatable quarter-turn manual clutch focus.

Some cinematographers have dismissed Olympus M43 lenses for uncinematic colour rendering but the needs of documentary moviemaking can be very different to those of feature film production and different again to stills photography.

I have found Olympus M.Zuiko Pro lenses to be excellent for documentary photography and video, with the zooms exhibiting minimal optical curvature that can be corrected in raw processing software recognizing imported or EXIF-based lens profiles.

Curvature can be more of a problem in video if the scene contains parallel vertical or horizontal lines as in architecture, but the M.Zuiko Pro primes appear to be very well optically corrected.

Olympus seems to be on the path towards finally fully realizing a current pipe dream, a full-featured, colour-matched set of top-quality professional-standard prime and zoom lenses for video and stills production.

Panasonic, Olympus’ partner in the Micro Four Thirds System Standard Group, is following a different path with two parallel lines of lenses, its Leica and Lumix zooms and primes, neither of which contains as many focal length options as the M.Zuiko Pro collection.

Micro Four Thirds critics railed against the format for its small choice of lenses for years despite the large number of MFT lens makers amongst the MFT System group’s membership and outside it.

It is a sign of Micro Four Thirds’ acceptance and maturation that photographers and moviemakers now look for matched sets of lenses in a range of focal lengths like those now being produced by Olympus, Panasonic, Voigtlaender, Veydra and others.

There can never be too much stability when handholding cameras for stills and video. A well-designed camera cage like this from Seercam boosts stability by offering a little extra weight (but not too much) and plenty of good, solid grip. More GH5 cage options are appearing now, and my favourite for one-person documentary moviemaking is this one while I would choose 8Sinn’s smaller, sleeker cage for shooting big-crew feature films with geared prime lens sets like those made by Veydra, or Duclos’ modded Voigtlaender f/0.95 Nokton primes.

Links

Image Credits

Header image concept and production by Carmel D. Morris.

Help support ‘Untitled’

Clicking on these affiliate links helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.

Camera, Kits, Battery Grip and V-Log L

  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera (Body Only)B&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera with 8-18mm Lens KitB&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera with 12-35mm Lens Kit – B&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera with 12-60mm LensB&H
  • Panasonic DMW-BGGH5 Battery Grip – B&H
  • Panasonic V-Log L Function Activation Code for DMC-GH4, DC-GH5, and DMC-FZ2500B&H

SDXC V90 cards

  • Angelbird 64GB AV Pro UHS-II V90 SDXC Memory CardB&H
  • Angelbird 128GB AV Pro UHS-II V90 SDXC Memory CardB&H
  • Panasonic 128GB UHS-II V90 SDXC Memory CardB&H

L-Plates

  • Really Right Stuff L-Plate Set for Panasonic Lumix DC-GH5 Camera Body  – B&H

Camera Cages

  • Movcam Cage for Panasonic GH5B&H
  • Movcam Cage Kit for Panasonic GH5B&H
  • Seercam GH5 CageB&H
  • Seercam Cage for GH5 with Classic HandleB&H
  • Seercam Extension Kit for CUBE GH5 CageB&H

Panasonic Lumix GH5 10-bit 4:2:2 V-Log Footage to Download and Practice Grading

Still needing more Panasonic Lumix GH5 exposure, as it were? One keenly anticipated aspect of the GH5 is its ability to record V-Log 10-bit 4:2:2 footage internally instead of only via an external monitor/recorder. Emmanuel Pampuri is kindly sharing some footage that can be downloaded in order to practice grading it with NLEs’ colour grading functionality or in colour grading software like BlackMagic’s DaVinci Resolve. 

The current line-up of Veydra Mini Prime cinema lenses, from 12mm at left through 16mm, 19mm, 25mm, 35mm, 50mm to 85mm. Veydra sells these lenses in kits or individually. A focally well-spaced set of matched Veydra primes would be a real asset and a more practical alternative than trying to assemble a set of non-matched non-cinema stills primes in various brands.

Mr Pampuri shot his footage with Veydra mini cinema prime lenses, “built for mirrorless cameras with Micro4/3 and S35 sensors” and with “multiple mounting options including Micro 4/3, Sony E-Mount, and C-Mount”.

Although I have yet to see Veydra lenses in the flesh, as it were, they sound like an excellent solution for making feature films and documentaries with Super 16 cameras like the GH5 and its M43 stablemates and competitors.

At time of writing, Mr Pampuri had mistakenly uploaded the footage as 8-bit 4:2:o but will be replacing that with 10-bit 4:2:2 footage soon.

Emmanuel Pampuri – PANASONIC LUMIX GH5 C4K Ungraded 4:2:2 10 Bits V-log 150mbs “Constance Flowers”

Links

Image Credits

Header image hack and concept by Carmel D. Morris, apologies to RJ Matson.

Help support ‘Untitled’

Clicking on these affiliate links helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.

Camera, Kits, Battery Grip and V-Log L

  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera (Body Only)B&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera with 8-18mm Lens KitB&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera with 12-35mm Lens Kit – B&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera with 12-60mm LensB&H
  • Panasonic DMW-BGGH5 Battery Grip – B&H
  • Panasonic V-Log L Function Activation Code for DMC-GH4, DC-GH5, and DMC-FZ2500B&H

SDXC V90 cards

  • Angelbird 64GB AV Pro UHS-II V90 SDXC Memory CardB&H
  • Angelbird 128GB AV Pro UHS-II V90 SDXC Memory CardB&H
  • Panasonic 128GB UHS-II V90 SDXC Memory CardB&H

L-Plates

  • Really Right Stuff L-Plate Set for Panasonic Lumix DC-GH5 Camera Body  – B&H

Camera Cages

  • Movcam Cage for Panasonic GH5B&H
  • Movcam Cage Kit for Panasonic GH5B&H
  • Seercam GH5 CageB&H
  • Seercam Cage for GH5 with Classic HandleB&H
  • Seercam Extension Kit for CUBE GH5 CageB&H