This idea about convert v-log to arri log C inside the camera, this is the brilliant! Thank you! This can help to match this camera with any camera(one cam for all)👍
A Resolve color space transform doesn’t change the color science, so applying a rec709 LUT for a different camera without changing the underlying color science leads to trouble. If you want to do this, use Emotive Color’s color science emulations to actually match the colors to the Alexa. And I’m am not sure what this really accomplishes. You can set up a grade in Resolve and apply that to the footage with just as many clicks as you would the Alexa rec709 LUT but without burning in a transform that might cause trouble. Also, don’t use the Resolve rec709 LUT for the Alexa, that is really old and clips much sooner. Use Arri’s LUT tool to get a rec709 LUT that’s much smoother.
You might also give an CST in combination with the Arri 3x3-Matrix a go in Resolve. The LUT would make much more sense here, if you apply it after the CST and the Matrix.
@@WillChao No I haven’t. I’ve been very happy with Emotive and Alex’s support but I honestly don’t use it much because I slap my film emulation onto everything.
Precisely my advice too, plus the fact that RealTimeLUT can only use LUTs with a resolution up to 33x, which is still very limiting compared to the full 65x you can get with Emotive Color applied in post (or even with the CST approach done in post).
I’m pretty untrained in any of this, but my question here is: why does the s5ii vs Alexa Mini footage look so close that he can cut between them if ‘this is totally wrong to do’? I get that 33 points is less than what you’d get with a LUT in post, but there’s also linear interpolation between the points right, so you’re closer to the 65pt than the numbers tell if the relationship between the points is somewhat near linear. Also, doesn’t the resulting LUT map colors from one (entire) space to the other (ie. Doing exactly what Tito set out to do here)?
Pannys VLog always worked great for Arri conversions 🙏 i remember using the GHAlex lut back in the day. one of the best log profile in the mirrorless world.
The main difference will be in texture and stops of DR. Arri’s sensor still has about a +2 stop advantage on the Panasonic cameras (usually allocated to highlight roll off,) and that’s mostly what I’m waiting for Panasonic to improve before I ditch my S1H. I’d love it if they did a B-EVA-S2H full frame cine cam hah I AM a sucker for the all black though, not on every camera but on a hybrid it helps to obfuscate the busy aesthetic.
I have been a user of Lumix S5 for a year, the truth is that beyond the fact that it does not have "good" continuous autofocus, the quality it offers is excellent, 4k has beautiful sharpness, even full hd and the options it gives you slow motion is very usable. It is part of my team for TV programs that I work on and the color that the camera gives is very nice, nothing to envy to the Canon cameras with which we also work. Later when I have the money I would like to have the s5IIX
Last week also my S5iiX arrived. For now i keep my S5 as B-cam, but i might swap that one for a S5ii in the future. But really love the S5iiX. 6K video is also magic, so much flexibility there.
I’ve been using the S1Alex Conversion Lut on my View Finder Assist on my S1H, so this is great to see taking it one step further on the S5IIX. I think I’ll keep my S1H as a rigged out A Cam, and the S5IIX will be my B-Cam/Run&Gun gimbal camera on the Ronin RS3 Mini.
@@AnamorphicOnABudget It was part of a multi-subject email from B&H which I received yesterday or the day before. I deleted the email after watching your video or I would send you the link.
That's a pretty smart hack, Tito! Thanks for this! I am probably replacing the GH5 with the S5 II X, and effectively completing my transition to the S line. My trusty Lumix S1 becomes by B-Cam, and now I'm scrambling to find good L-Mount glass that will be gentle on my shoulders since I travel a lot. I might just go back and get a GH5 in the future, since I am holding on to my MFT glass, but for now, the S5 II X ticks most of the boxes (the Nikon Z8 ticks all of them at this point, but it costs much more, so waiting for the S1H IIX to reach that point and then probably sell the S1 and make S5 II X my B-Cam and yada yada... the cycle of upgrades is almost endless)
my first camera was the GH5 always loved sony because of the lowlight , when it came time to upgrade the s5mk2X came out and I went for it. used to rent fx6 for bigger jobs, but love having a more capable camera for all other projects. recording to SSD is insanely useful. with the output raw was not with bars. maybe a recorder side limitation? maybe atomos will bring something and lumix can make an update? the black bars mean there is no true 6k? or is just like an 8k with bars?
does it only record ProRes through the USB port? Can't record ProRes to memory cards? this makes it impossible to control the camera with a gimbal, right?
Theoretically, it's the same thing. The GH7 one is implemented internally, so I would expect it to be more accurate than my lut made out of a Color Space Transform.
Being from the Commonwealth 50hz land of Australia I’m thrilled to get PAL support in OG in the S5iiX. And I freaking LOVE the S5iiX! Lack of the OLPF makes me nervous in moire-ish situations though and makes me reticent to let go of the S1H. What are your thought on that Tito?
How do you think the stabilisation in the S5iiX would do with the likes of the Sirui Saturn lens which is 1.6? Is 1.5 close enough to get off with? I want to pair them together for a lightweight anamorphic travel set up.
I've been filming with 1.5x setting for the Sirui lenses and it's fine so far. I have filmed a bunch with the Saturn recently and haven't seen any issues.
Thanks Tito. I recently switched from Nikon Z6 to and S5 and an S5II. The ease of video work was the main reason. My biggest question has been getting open gate from the S5II to my Ninja V. Every setting so far results in black bars. I bought the upgrade to raw, but it looks like from your video that has the same result. Do you have a video on what I am missing?
No, HDMI has limitations regarding aspect ratio - as far as I understand - so you'll get the full readout, but in a 16:9 container, which means black bars on the sides.
@@AnamorphicOnABudget so to get the open gate readout, you have to record to the internal SD card, got it. Thanks Tito... Also, I got the Siruii 35mm saturn Anamorphic, It looks so good on S5II that my rokinon lenses look awful. I wish Sirui made a 24mm version of that lens.
I wouldn’t do that. First, the camera can only bake in 33x resolution LUT, so that CST would look better when applied in post. 2nd, if your WB isn’t perfectly spot on, you’d have to correct it post-CST, which again isn’t ideal. 3rd, the only time you’re actually saving is that one node CST… not worthy of sacrificing anything over one node. If you really want to match the camera to the Alexa, just get Emotive Color’s S5alex. You’ll be able to use the LUT version or the powergrade version and it’ll match the Alexa in all it’s glory, with highlight rolloff, perfect skintones, and absolutely perfect HSL.
my first camera was the GH5 always loved sony because of the lowlight , when it came time to upgrade the s5mk2X came out and I went for it. used to rent fx6 for bigger jobs, but love having a more capable camera for all other projects. recording to SSD is insanely useful. with the output raw was not with bars. maybe a recorder side limitation? maybe atomos will bring something and lumix can make an update? the black bars mean there is no true 6k? or is just like an 8k with bars?
Now that the GH6 and GH7 will have ARRI LogC3 with the purchased license key DMW-SFU3A but not for the Lumix S5II/IIX, this hack is even more interesting for those that were looking for a method.
An interesting topic, but on a 3 "or 7" screen, you can fix the exposure and color. In theory, loot is a blessing, but Panasonic give us wi fi broadcast to an external monitor without lags!
It's a shame we never get Prores 4444 (XQ) on these cams. Prores RAW would possibly a good substitute, if it fit any workflow you'd do unsolicited sober that is. like we talked about before - I really think the realtime LUT thingy is a stillborn idea. No, not the idea, that one is good because it utilizes the feature that was probably intended to do the exact opposite (wild guess here). But everything about it is just "not adding up". You probably want to get the very best quality out of your images, so using a LUT rather than e.g. a CST (or even better: a proper ACES environment) is already not a good step, as a LUT is clipping by nature. You can argue that this nature probably won't ever be problematic in this scenario, but still: you shoot this to better grade/match, so eradicating this single step of conversion is a debatable relief in the workflow. What's also debatable is how well the engine applies the data; trilinear versus tetrahedral interpolation inside Resolve for example can certainly make a big difference. Would be worth checking out how well it works here. What's not debatable though is the reduced res, a 33³ cube versus a 65³ cube is 13% the values. And we are still talking about a table with limited capabilities to begin with - applying a curve (like a CST or ACES) is always to be prefered. Lastly, V-Log and AlexaV3LogC are pretty close as-is (just talking the curve here, not the Gamut), so at least the footage doesn't get bent sideways but yeah, I still find it debatable. To end on a nicer note: I still think the idea is good, but the way it can work is not. And the video wasn't nearly as clickbaity as I'd anticipated, I'm shocked. SHOCKED! Reason 3 will surprise you.
Blackmagic RAW which is way easier to work with uses 4:4:4 chroma resolution (aka no YUV compression) and cuts like butter. Texture is greatly improved as well as the spatial blurring from the compression is basically completely eliminated. ProRes 444 is HUGE, even bigger than prores RAW due to the bayer pattern interpolation math being done and written to the card/drive when it saves space to do that on the PC end. Regarding LUTs, there are some that I've used, like Emotive Color, that don't clip - they can use floating point numbers even outside the range of the color space. Haven't dug too deep on the math but they are capable of and with tetrahedral interpolation works very well
@@alihammad6318 it's debatable if BRAW is true 444, like any debayered image really. I'm not sure if they improved 3rd party support, so far I found it's not reasonable in our workflows. Of course Prores 4444 is huge, but time and personal wasted in post is, at least for us, more costly than more SSDs. And I hate having double raw files. Even if most people are fine with 422 HQ (lol) or the new pseudo raw files, wouldn't it be better to have options and not use them? A LUT always clips. It's in the nature. Any value under the first or after the last is gone. As I said: it may not hinder you in any way. But either way, a generative curve is always to be preferred, and that on top of all the other downsides. The only single upside in in the scenario presented here is a single two-click-operation in Resolve (or how many steps you need in your designated grading application)
You just transforming it from one color space to another, you are not matching the colors with this method. It only makes sense to match the gamma response of a LUT that was created for LOG C otherwise, there's no point in doing that.
Would he need to use a color chart to get the Arri positions on the Vector scope? then create his conversion and match the vector scopes? im interested in trying that with my S1H and S5iix. I have friends that shoot on Komodos, Z-Cams and pocket 6 ks. it would be nice to be able to LUT convert and get the colors to match on set too.
why no side by side comparisons of the 2 cameras? what a waste of time watching this video.. just a few very short clips at the very end with no chance to really compare
They use the exact same sensor and processor! So the images will be identical, except when using different recording formats for higher bitrates on the S5IIX. And even then, because of youtube compression, that difference isn't noticeable. :)
@@AnamorphicOnABudget Where did you get he info that is uses the same exact sensor? as the Alexa Mini uses: "Super 35 format ARRI ALEV III CMOS sensor" I could not find anyplace online a link stating the exact name of the sensor Lumix is using... If so, I still still would like to SEE it in action.. entire point to me for UA-cam videos about video shooting is to See the Topic the video is made about....
Omg, my bad! I totally misread your first comment, then mistook the video in question for S5IIX vs S5II, and then gave my answer. Thank you for responding again, which let me catch my mistake. These two cameras do NOT share the same sensor (that answer was for the S5IIX and S5II). You are right, there are no Alexa vs S5IIX matching comparison shots. I took a more practical angle and just compared if I could cut them together seamlessly without a ton of work in post. I didn't get any free time on set to film those matching comparisons. Yet, there are several other videos on youtube of folks making this comparison (S5IIX vs Alexa) and using matching shots: ua-cam.com/video/r-nedwgTPRc/v-deo.html
Your voice has gotten so gravelly lately. Hope your vocal cords aren't sustaining permanent damage. I had to get myself in the habit of NOT gravelling, because my voice would give out after a day and a half of presenting. Then it would take me days of not speaking to recover my voice which really cut into my practice time and of course my ability to communicate efficiently.
A lot of the changes in recent videos is me trying things out to improve sound. On another hand, my voice in Portuguese (which is my first language) is much deeper than in English, so I'm also trying to blend the two tones in life. :P
Seems like Lumix and Arri did agree with your creativity!! Arri Log is now in the GH7
My biggest gripe is also the crippling of the full frame when you want to shoot any other frame rate or all I codec.
Thanks!
This idea about convert v-log to arri log C inside the camera, this is the brilliant! Thank you! This can help to match this camera with any camera(one cam for all)👍
A Resolve color space transform doesn’t change the color science, so applying a rec709 LUT for a different camera without changing the underlying color science leads to trouble. If you want to do this, use Emotive Color’s color science emulations to actually match the colors to the Alexa. And I’m am not sure what this really accomplishes. You can set up a grade in Resolve and apply that to the footage with just as many clicks as you would the Alexa rec709 LUT but without burning in a transform that might cause trouble. Also, don’t use the Resolve rec709 LUT for the Alexa, that is really old and clips much sooner. Use Arri’s LUT tool to get a rec709 LUT that’s much smoother.
have you tried Cinematch? What do you think of that compared to Emotive color?
You might also give an CST in combination with the Arri 3x3-Matrix a go in Resolve. The LUT would make much more sense here, if you apply it after the CST and the Matrix.
@@WillChao No I haven’t. I’ve been very happy with Emotive and Alex’s support but I honestly don’t use it much because I slap my film emulation onto everything.
Precisely my advice too, plus the fact that RealTimeLUT can only use LUTs with a resolution up to 33x, which is still very limiting compared to the full 65x you can get with Emotive Color applied in post (or even with the CST approach done in post).
I’m pretty untrained in any of this, but my question here is: why does the s5ii vs Alexa Mini footage look so close that he can cut between them if ‘this is totally wrong to do’?
I get that 33 points is less than what you’d get with a LUT in post, but there’s also linear interpolation between the points right, so you’re closer to the 65pt than the numbers tell if the relationship between the points is somewhat near linear.
Also, doesn’t the resulting LUT map colors from one (entire) space to the other (ie. Doing exactly what Tito set out to do here)?
Pannys VLog always worked great for Arri conversions 🙏 i remember using the GHAlex lut back in the day. one of the best log profile in the mirrorless world.
Brilliant video mate, love seeing you using the S5IIX :)
I played with this when the camera came out and came to the conclusion that it was terrible. Use a transform later don’t mess with the DR baked in.
The main difference will be in texture and stops of DR. Arri’s sensor still has about a +2 stop advantage on the Panasonic cameras (usually allocated to highlight roll off,) and that’s mostly what I’m waiting for Panasonic to improve before I ditch my S1H.
I’d love it if they did a B-EVA-S2H full frame cine cam hah
I AM a sucker for the all black though, not on every camera but on a hybrid it helps to obfuscate the busy aesthetic.
I have been a user of Lumix S5 for a year, the truth is that beyond the fact that it does not have "good" continuous autofocus, the quality it offers is excellent, 4k has beautiful sharpness, even full hd and the options it gives you slow motion is very usable.
It is part of my team for TV programs that I work on and the color that the camera gives is very nice, nothing to envy to the Canon cameras with which we also work.
Later when I have the money I would like to have the s5IIX
Last week also my S5iiX arrived. For now i keep my S5 as B-cam, but i might swap that one for a S5ii in the future. But really love the S5iiX. 6K video is also magic, so much flexibility there.
Fantastic, this is the info I have bee missing , great job brother
THANKS TITO, brilliant as always. I am going to get S5IIx as my A camera... asap! Best regards
tell me if you apply Luts in the camera, then the image when output via HDMI will look like using Luts or a clean signal?
When using real-time LUT it will be burned to the footage. in his case the LUT applied should give him Clog looking footage
I’ve been using the S1Alex Conversion Lut on my View Finder Assist on my S1H, so this is great to see taking it one step further on the S5IIX.
I think I’ll keep my S1H as a rigged out A Cam, and the S5IIX will be my B-Cam/Run&Gun gimbal camera on the Ronin RS3 Mini.
Do you apply the Arri Clog to the footage in post production? or the LUT from the link?
Thanks, Tito! I'm a subscriber to your channel now, after seeing your link on B&H's website.
Thanks Craig! Can you point me to where you found the channel? I went through B&H's website and couldn't find it! :P
@@AnamorphicOnABudget It was part of a multi-subject email from B&H which I received yesterday or the day before. I deleted the email after watching your video or I would send you the link.
That's a pretty smart hack, Tito! Thanks for this! I am probably replacing the GH5 with the S5 II X, and effectively completing my transition to the S line. My trusty Lumix S1 becomes by B-Cam, and now I'm scrambling to find good L-Mount glass that will be gentle on my shoulders since I travel a lot. I might just go back and get a GH5 in the future, since I am holding on to my MFT glass, but for now, the S5 II X ticks most of the boxes (the Nikon Z8 ticks all of them at this point, but it costs much more, so waiting for the S1H IIX to reach that point and then probably sell the S1 and make S5 II X my B-Cam and yada yada... the cycle of upgrades is almost endless)
my first camera was the GH5 always loved sony because of the lowlight , when it came time to upgrade the s5mk2X came out and I went for it.
used to rent fx6 for bigger jobs, but love having a more capable camera for all other projects.
recording to SSD is insanely useful. with the output raw was not with bars. maybe a recorder side limitation? maybe atomos will bring something and lumix can make an update?
the black bars mean there is no true 6k? or is just like an 8k with bars?
Im just worried about moire with this camera can u share how bad is it?
Wait... how does that smallrig cage have hammertone paint...
It just does. o.O
Is the new Full Frame Blackmagic Cinema Camera 6K an even better choice?
Thank You ❤
Great video! Just got my S5II, a beast of a camera. Thank you
strictly for anamorphic purposes, is the S5IIX the best camera for its price on the market now?
I'd say it's a fairly easy yes. If you don't need the beefier recording formats, the S5II is a better deal though.
@@AnamorphicOnABudget but blacked out camera tho >.>
does it only record ProRes through the USB port? Can't record ProRes to memory cards? this makes it impossible to control the camera with a gimbal, right?
ProRes over 1080p through SSD cards
Excuse my ignorance, I am trying to learn a thing or two about color science. Is the arri lut on s5IIX similar to the GH7 Arri LogC?
Theoretically, it's the same thing. The GH7 one is implemented internally, so I would expect it to be more accurate than my lut made out of a Color Space Transform.
Being from the Commonwealth 50hz land of Australia I’m thrilled to get PAL support in OG in the S5iiX. And I freaking LOVE the S5iiX! Lack of the OLPF makes me nervous in moire-ish situations though and makes me reticent to let go of the S1H. What are your thought on that Tito?
I haven't run into it, but I also haven't filmed a ton with it just yet. I've used the S5II a lot more and still haven't seen moire on it.
ua-cam.com/video/dyF33HaRQ8w/v-deo.html
How do you think the stabilisation in the S5iiX would do with the likes of the Sirui Saturn lens which is 1.6? Is 1.5 close enough to get off with? I want to pair them together for a lightweight anamorphic travel set up.
I've been filming with 1.5x setting for the Sirui lenses and it's fine so far. I have filmed a bunch with the Saturn recently and haven't seen any issues.
@@AnamorphicOnABudget thanks dude. Much appreciated. I'm excited to get into the ana water.
So how did the footage came out with the LUT , do you advise using it ? Or it causes problems ?
Thanks Tito. I recently switched from Nikon Z6 to and S5 and an S5II. The ease of video work was the main reason.
My biggest question has been getting open gate from the S5II to my Ninja V. Every setting so far results in black bars. I bought the upgrade to raw, but it looks like from your video that has the same result. Do you have a video on what I am missing?
No, HDMI has limitations regarding aspect ratio - as far as I understand - so you'll get the full readout, but in a 16:9 container, which means black bars on the sides.
@@AnamorphicOnABudget so to get the open gate readout, you have to record to the internal SD card, got it. Thanks Tito... Also, I got the Siruii 35mm saturn Anamorphic, It looks so good on S5II that my rokinon lenses look awful. I wish Sirui made a 24mm version of that lens.
What lens is that at 5:33 ua-cam.com/video/RLMN3P-2Lzo/v-deo.html of the video?
It's a Cooke Xtal Xpress 25mm. :)
Great tip brother, thanks for sharing.
HELLZ YEAH!!! Thanks!
Is the chroma sub sampling in prores HQ 6k open gate via SSD 422 or 420?
420
I wouldn’t do that. First, the camera can only bake in 33x resolution LUT, so that CST would look better when applied in post. 2nd, if your WB isn’t perfectly spot on, you’d have to correct it post-CST, which again isn’t ideal. 3rd, the only time you’re actually saving is that one node CST… not worthy of sacrificing anything over one node. If you really want to match the camera to the Alexa, just get Emotive Color’s S5alex. You’ll be able to use the LUT version or the powergrade version and it’ll match the Alexa in all it’s glory, with highlight rolloff, perfect skintones, and absolutely perfect HSL.
my first camera was the GH5 always loved sony because of the lowlight , when it came time to upgrade the s5mk2X came out and I went for it.
used to rent fx6 for bigger jobs, but love having a more capable camera for all other projects.
recording to SSD is insanely useful. with the output raw was not with bars. maybe a recorder side limitation? maybe atomos will bring something and lumix can make an update?
the black bars mean there is no true 6k? or is just like an 8k with bars?
Now that the GH6 and GH7 will have ARRI LogC3 with the purchased license key DMW-SFU3A but not for the Lumix S5II/IIX, this hack is even more interesting for those that were looking for a method.
Arri alexa part of the video is at 4:30
An interesting topic, but on a 3 "or 7" screen, you can fix the exposure and color. In theory, loot is a blessing, but Panasonic give us wi fi broadcast to an external monitor without lags!
I recently read that turning off sound over HDMI improves delay. I haven't tested it yet though.
gh5 ii or s5 ? i am just a hobbyist and want to shoot my family videos
Do you think I should buy a Black magic monitor or Atmos?
It depends on your workflow!
the best rational forthe S5iiX
What do you think of Kinefinity Mavo S35 mark 2 which can do 6k 3:2 open gate 60p?
Haven't had a chance to try. I haven't seen a Kinefinity camera in more than five years. They were clunky back then.
S5iix recording steam deck (VSD). Nice!
Phantom LUTS are great for the S5ii series to match the Arri look
Awesome 😎
It's a shame we never get Prores 4444 (XQ) on these cams. Prores RAW would possibly a good substitute, if it fit any workflow you'd do unsolicited sober that is.
like we talked about before - I really think the realtime LUT thingy is a stillborn idea. No, not the idea, that one is good because it utilizes the feature that was probably intended to do the exact opposite (wild guess here). But everything about it is just "not adding up".
You probably want to get the very best quality out of your images, so using a LUT rather than e.g. a CST (or even better: a proper ACES environment) is already not a good step, as a LUT is clipping by nature. You can argue that this nature probably won't ever be problematic in this scenario, but still: you shoot this to better grade/match, so eradicating this single step of conversion is a debatable relief in the workflow. What's also debatable is how well the engine applies the data; trilinear versus tetrahedral interpolation inside Resolve for example can certainly make a big difference. Would be worth checking out how well it works here. What's not debatable though is the reduced res, a 33³ cube versus a 65³ cube is 13% the values. And we are still talking about a table with limited capabilities to begin with - applying a curve (like a CST or ACES) is always to be prefered. Lastly, V-Log and AlexaV3LogC are pretty close as-is (just talking the curve here, not the Gamut), so at least the footage doesn't get bent sideways but yeah, I still find it debatable. To end on a nicer note: I still think the idea is good, but the way it can work is not. And the video wasn't nearly as clickbaity as I'd anticipated, I'm shocked. SHOCKED! Reason 3 will surprise you.
Blackmagic RAW which is way easier to work with uses 4:4:4 chroma resolution (aka no YUV compression) and cuts like butter. Texture is greatly improved as well as the spatial blurring from the compression is basically completely eliminated. ProRes 444 is HUGE, even bigger than prores RAW due to the bayer pattern interpolation math being done and written to the card/drive when it saves space to do that on the PC end.
Regarding LUTs, there are some that I've used, like Emotive Color, that don't clip - they can use floating point numbers even outside the range of the color space. Haven't dug too deep on the math but they are capable of and with tetrahedral interpolation works very well
@@alihammad6318 it's debatable if BRAW is true 444, like any debayered image really. I'm not sure if they improved 3rd party support, so far I found it's not reasonable in our workflows. Of course Prores 4444 is huge, but time and personal wasted in post is, at least for us, more costly than more SSDs. And I hate having double raw files. Even if most people are fine with 422 HQ (lol) or the new pseudo raw files, wouldn't it be better to have options and not use them?
A LUT always clips. It's in the nature. Any value under the first or after the last is gone. As I said: it may not hinder you in any way. But either way, a generative curve is always to be preferred, and that on top of all the other downsides. The only single upside in in the scenario presented here is a single two-click-operation in Resolve (or how many steps you need in your designated grading application)
Olá Tito. Você fala português provavelmente de Portugal, certo? Abraços.
Nao, sou Brasileiro! :)
@@AnamorphicOnABudget que massa cara. Parabéns hahaha seus vídeos são muito top. Abraços da sua terra natal!
Braw ?? HDMI
Soo great video! Thanks! Im simply upgrading from original s5 which still is soo good versitile camera for the price :)
You just transforming it from one color space to another, you are not matching the colors with this method. It only makes sense to match the gamma response of a LUT that was created for LOG C otherwise, there's no point in doing that.
Would he need to use a color chart to get the Arri positions on the Vector scope? then create his conversion and match the vector scopes? im interested in trying that with my S1H and S5iix. I have friends that shoot on Komodos, Z-Cams and pocket 6 ks. it would be nice to be able to LUT convert and get the colors to match on set too.
We the poor are just getting those second hand S1Hs hahahahahahahah
why no side by side comparisons of the 2 cameras? what a waste of time watching this video.. just a few very short clips at the very end with no chance to really compare
They use the exact same sensor and processor! So the images will be identical, except when using different recording formats for higher bitrates on the S5IIX. And even then, because of youtube compression, that difference isn't noticeable. :)
@@AnamorphicOnABudget Where did you get he info that is uses the same exact sensor? as the Alexa Mini uses: "Super 35 format ARRI ALEV III CMOS sensor" I could not find anyplace online a link stating the exact name of the sensor Lumix is using... If so, I still still would like to SEE it in action.. entire point to me for UA-cam videos about video shooting is to See the Topic the video is made about....
Omg, my bad! I totally misread your first comment, then mistook the video in question for S5IIX vs S5II, and then gave my answer. Thank you for responding again, which let me catch my mistake. These two cameras do NOT share the same sensor (that answer was for the S5IIX and S5II).
You are right, there are no Alexa vs S5IIX matching comparison shots. I took a more practical angle and just compared if I could cut them together seamlessly without a ton of work in post. I didn't get any free time on set to film those matching comparisons.
Yet, there are several other videos on youtube of folks making this comparison (S5IIX vs Alexa) and using matching shots: ua-cam.com/video/r-nedwgTPRc/v-deo.html
Your voice has gotten so gravelly lately. Hope your vocal cords aren't sustaining permanent damage. I had to get myself in the habit of NOT gravelling, because my voice would give out after a day and a half of presenting. Then it would take me days of not speaking to recover my voice which really cut into my practice time and of course my ability to communicate efficiently.
A lot of the changes in recent videos is me trying things out to improve sound. On another hand, my voice in Portuguese (which is my first language) is much deeper than in English, so I'm also trying to blend the two tones in life. :P
@@AnamorphicOnABudget oh nice! Do you have a vlog channel where you speak in your first language? Kinda like Peter Lindgren.
I barely have time for one youtube channel, let alone two! hahaha.
Oh! Yes of course. That's understandable.