8/5/2023 0 Comments Panasonic gh5 lut![]() ![]() ![]() ![]() The Sony slog3 IDT is publicly documented as a set of straight forward math transforms. We don't know how this particular IDT was built. So is it the IDT implementation or the math behind it? It would be interesting to now in cases where the IDT breaks, did the V-Log LUT (for non-ACES) work better. And as colorists invested into ACES we would hope to work with the camera manufacturers to fix technical flaws in an IDT rather than just picking an alternate one that isn't meant for that camera presumably. But in the discussion we have to separate personal look preferences from a test chart that shows where things go off the rail, otherwise it's very hard to narrow down where the problem is. And I'm sure if we can articulate those with specific data that Panasonic can look into fixing, by all means. It appears the IDT behaves correctly in many conditions, but that doesn't rule out corner cases. We have all seen various LUTs break when given a LUT stress test samples. All I had to give them was the V-Log LUT.Ĭlick to expand.I do think people are open to the possibility of a technical flaw in the IDT. In another job I recently delivered original camera files to a client doing their own post from the Varicam/GH5s combo and I didn't have to worry about camera matching. It was easy to work with the pair on set and in post for that exact reason. I recently did a job which used the Varicam LT as A camera and a GH5s for important B-Roll that couldn't have been captured with a bigger camera. And Panasonic followed an interesting concept of a unified color science up and down it's product range allowing productions that need to work with different cameras to more easily intercut. It enables good capture in situations where many bigger cameras are not practical for various reasons. You can use it without crazy 3rd party accessories and Frankenstein rigs. The GH5s fits an interesting role in the camera lineup because its one of very few DSLR style cameras that was truly designed as a video camera first in terms of capabilities and workflow (it natively supports timecode in, XLR phantom powered audio, limiters, log recording, all-I codecs with 400Mbps, 422 10 bit codecs, on-screen scopes, peaking etc.). Some may not like what Panasonic thinks the GH5 should look like. In addition to that any camera is just the starting point, it's not the end point of a grade that takes the mood and intent of the story and personal preferences on saturation into consideration. Some have managed to add looks on top of the FS7 to make it acceptable, but ultimately you have to pick the camera and its color science that suits your taste, and/or is the easiest to grade to your particular preferred look. Many people love the Alexa for its color science just as much as many hate the FS7 for its. There are three basic ingredients: The camera maker's color science, technical transformations for log recording, and creative looks - applied in that order. What you do after that is entirely up to your taste. If the IDT is close to what a Rec 709 recording would yield of a chart then it has returned the footage to what Panasonic intended, with the benefit of more DR and the normalization of the ACES workflow. I think Most test further up is the proper proof. You may not prefer the result of the IDT, that doesn't make it wrong or broken. It's not meant to bring the footage to your preferred feel such as some film emulation LUTs do. It should look identical to a recording in Rec709 imported with the Rec709 IDT. The IDT serves a technical purpose in the ACES framework to be an exact reverse to an operation applied in camera and is supposed to return the footage into the state the camera manufacturer intended, but inside the ACES color space and gamut that normalizes the workflow for mixed cameras. I believe you have to separate the IDT from artistic taste. ![]()
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