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    #61
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    Quote Originally Posted by Hugh DiMauro View Post
    Never used natural. Always stuck with Cinlike D. Would natural be the best way to go to get the cleanest most natural image possible if I decided to take that route and gently tweak in post if it needed post manipulation?
    Ok Hugh, now is the point in the thread where you say "I am going to go check all of this stuff out...". Seriously, if you have the camera try and try again and see what works best for YOU. Asking if the natural profile works is not going to yield anything compared to picking up your camera and putting it in natural mode and shooting. First hand knowledge is the most important thing.


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    Senior Member Jim Arthurs's Avatar
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    Here is a client show I shot entirely on the $500 dollar Panasonic G7, using natural for the green screen and any non-drone b-roll.

    https://youtu.be/mMRDhQNO34c

    Two years later I shoot a companion film on the GH5s... sticking with Natural for the green screen, but going CineD for the b-roll, knowing I'd be doing a lot of 60fps work for slow mo, and finding that CineD has a bit more dynamic range than Natural, at least on the GH5s.

    https://youtu.be/JqoEGc5P1J0

    For both projects I knew up front that the client would want the footage after the gig for their in-house and other needs, and absolutely wouldn't know what to do with either log or HLG material. Second, they work with Premiere and wanted the files for future tweaks done on their end, so that meant the green screen needed to be set up in Premiere and "just work" with generic key settings.

    I don't get hung up on shooting "only Raw", or "only log" or anything... I let the project tell me what it needs. You're going to make acceptable pictures today with any of these cameras. Left to my own, I prefer HLG on my GH5s, and think the color is a bit better than the V-logL. Either are really easy to set up in Resolve, and in Resolve I never ever use LUT's for HLG or V-log or Slog2 or anything really, as you can color-manage in Resolve globally, which handles the conversion, or at a clip level on mixed projects. It works really well and you can eek every bit out of those formats that is possible.

    As others have said, just go try all these profiles for yourself. I never really used CineD until this project in the link above, having only relied on other's reviews and opinions on it. Hey, what do you know, I like it! It required no real grading, pretty much looked good right from the camera.
    Jim Arthurs


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    #63
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    I would also get friendly with the waveform monitor. It let’s you see with one glance if any shadows or highlights are being clipped.


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    #64
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    Quote Originally Posted by filmguy123 View Post
    Yes Hugh, your lightbulb moment is basically it. Use a monitoring LUT, apply a LUT via adjustment layer or copy paste in Premiere. Done. Easy. Boom.

    Obviously there's always a little more to it... and others have pointed out some things that I recommend pausing your brain on, and just going and do ^^ that first.

    My 2 cents don't worry about Resolve yet IMO because it's just one more thing to learn. Lots of people like it. It's a great tool. It's nothing scary. But in no way is it needed or required, its just one more thing to learn. Pause here.

    It won't burn it in if its a monitoring LUT. They call it that because you're monitoring. Yes, some pieces of gear have options to burn in the LUT. It's an option. Don't use it

    As far as Bassman / WWJDs comments, I'd push forward on LOG. There's a reason so many pros use it, and use it only. Really, it's easy. And it's worth it. No, you won't always get an obvious 2 stop advantage. That's not how DR works. You're displaying your footage on limited DR monitors. Most TVs and monitors do about 8 stops. Most cinema cameras do about 14 stops. It's all about mapping the DR after you shoot. You can use a Lumetri color mask with feathering to pull out more range on a clip. But that's the next step. Pause here. It's super cool. Don't worry about it yet.

    Even if you do none of this, and just use the monitoring LUT and premiere LUT, you're still better off in captured range and post grading options. You can save a shot better if you need to. You have an infinite pallete post shoot to redo all colors and everything without any look baked in. Even in shots without more DR immediately noticeable, the gradations between brightness can look smoother. IMO, it's so easy to do, it would be foolish in 2019 to being baking in a look that you can't change later, when all you have to do is use a LUT in post and monitoring LUT and work basically as always, but get better iQ and a robust "insurance policy" on all your shots.

    The other thing I'll add is, I'm glad for your excitement. It also reveals you're talking about how hard it is without having done any reading or tutorials ;) I'm not criticizing that, you are just asking questions, rather I am encouraging you. Everything seems hard when no one has explained it to you. Of course you feel overwhelmed! Why don't you read something from Barry Green on working with LOG footage, read the manual on the GHx vlog, watch a youtube video on it. Be careful on Youtube, lots of misinformation.

    And then most importantly, just take a few hours to go PLAY and experiment. Be excited about it. Don't treat it as a to do list. Treat it as a free, massive camera upgrade and all you have to do is pay with a couple of fun hours of playing with stuff.

    Honestly, it's really easy. And the benefits are there even if you only use it to 10% of it's potential.
    Okay. My next step is to purchase an accurate LUT for Premiere and noodle with it. On my next series of days off from my daytime job I will experiment and see if I can keep my bloop pressure at manageable levels. :-)
    Interesting if true. And interesting anyway.


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    #65
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    Quote Originally Posted by filmguy123 View Post
    You will fail - just get the LUT. Most here, self included, will recommend Leeming LUT. Worth it. Cheap. Good. Walks you through everything too in the PDF.

    Alternatively, you can get the official Panasonic LUTs. Why not start there? But I will say, I've had a better experience, better image, better results, and more guidance with the Leeming LUT. It's really not that much.
    Just downloaded the Leeming LUT instruction PDF for GHt5 camera and it seems pretty straightforward. I notice it recommends shooting at 4K but I'm not keen on 4K as of yet since I don't have any end user reason to shoot at such a high end resolution. Can I just stay at 1920 x 1080 high bitrate?
    Interesting if true. And interesting anyway.


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    #66
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    Quote Originally Posted by Bassman2003 View Post
    Ok Hugh, now is the point in the thread where you say "I am going to go check all of this stuff out...". Seriously, if you have the camera try and try again and see what works best for YOU. Asking if the natural profile works is not going to yield anything compared to picking up your camera and putting it in natural mode and shooting. First hand knowledge is the most important thing.
    That is what I shall do. Grading for certain effects is beyond my abilities at this time. For now, I just want to tell a story with the most aesthetically pleasant images possible.
    Interesting if true. And interesting anyway.


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    #67
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    Quote Originally Posted by Jim Arthurs View Post
    Here is a client show I shot entirely on the $500 dollar Panasonic G7, using natural for the green screen and any non-drone b-roll.

    https://youtu.be/mMRDhQNO34c

    Two years later I shoot a companion film on the GH5s... sticking with Natural for the green screen, but going CineD for the b-roll, knowing I'd be doing a lot of 60fps work for slow mo, and finding that CineD has a bit more dynamic range than Natural, at least on the GH5s.

    https://youtu.be/JqoEGc5P1J0

    For both projects I knew up front that the client would want the footage after the gig for their in-house and other needs, and absolutely wouldn't know what to do with either log or HLG material. Second, they work with Premiere and wanted the files for future tweaks done on their end, so that meant the green screen needed to be set up in Premiere and "just work" with generic key settings.

    I don't get hung up on shooting "only Raw", or "only log" or anything... I let the project tell me what it needs. You're going to make acceptable pictures today with any of these cameras. Left to my own, I prefer HLG on my GH5s, and think the color is a bit better than the V-logL. Either are really easy to set up in Resolve, and in Resolve I never ever use LUT's for HLG or V-log or Slog2 or anything really, as you can color-manage in Resolve globally, which handles the conversion, or at a clip level on mixed projects. It works really well and you can eek every bit out of those formats that is possible.

    As others have said, just go try all these profiles for yourself. I never really used CineD until this project in the link above, having only relied on other's reviews and opinions on it. Hey, what do you know, I like it! It required no real grading, pretty much looked good right from the camera.
    Thank you, Jim. I watched the videos and, yes, what you suggested makes sense. For now, I will noodle with all settings and work with what I've got (I will try Leeming as well) and check results. I thank you all for your patience and tutelage.
    Interesting if true. And interesting anyway.


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    #68
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    Quote Originally Posted by icarusfilm View Post
    I would also get friendly with the waveform monitor. It let’s you see with one glance if any shadows or highlights are being clipped.
    Oh, dear Sir, the waveform monitor has been my secret mistress ever since Panasonic engineered it into its cameras. Without my beloved waveform monitor and zebras I would would be lost, indeed!
    Interesting if true. And interesting anyway.


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    #69
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    This may be off topic and I apologize in advance: It's widely known Premiere does not offer Apple Prores as an export option with PC/Windows users. However, if I shoot in Prores (via the Ninja Inferno) and export clicking the "match sequence settings" aren't I, in essence, exporting Apple Prores? Or am I just exporting an MPEG preview I-frame?
    Interesting if true. And interesting anyway.


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    #70
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    Premiere now supports ProRes export


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