This LUT Makes Your GH5 & GH5s Look Like an Arri Alexa | GHAlex LUT Review 

Have you tried the v4 yet?? It's so amazing, the new update with the extra goodies is clutch

Robert Alvis I’m honestly not sure. When was it released??

@@bentheremedia3011 I think about 2 weeks ago or so. If you bought it recently you might have gotten v4, but double check. The v4 is incredible. He added updates to the CineD pre which I use alot, and he also added some exposure corrections and auto black level corrections that really help with contrast. It's an amazing updated from v3

@@avsvisual6786 Just checked and yea I have version 4! The black level and exposure corrections are awesome!!

Yeah I would say it would work!

This is HUGELY different! I don’t think the built in VLOG LUT does any highlight roll off, so I’d be careful

@@CameronGallagher Thank you for the reply! The built in Alexa LUT is not especially for VLOG. But is interesting to see that you can get much better colors out of it then a standard LOG to Rec 709 converter. I wonder what the GHAlex LUT can do.

The difference is that the built in Alexa LUT is designed to be used on Alexa footage. The GHAlex LUT is designed to be used on GH5 and GH5s VLog footage to emulate the Alexa look. That is a massive difference.

Yes!

I was wondering the same.

You can't. This LUT requires conversions to be applied in Davinci before you can apply the LUT. 1: White Balance Correction 2: Stack a VLOG-C conversion LUT from 8bit or 10bit, then stack your Alexa LUT.

-5 on both sharpness and NR (though this won't affect color, solely texture)

@@alexmack106 Thanks, waiting for GH5S version

Zealot MN There is one for RED, it‘s free!

@@auchich.3218 Where?

I hope to eventually get to other cameras. The P4K comes next though. It'll take a few months

P4K?

@@Ben-fq1lj Trying to get there as fast as I can, I'm hoping for May (but no promises!)

Hey! Thanks so much for watching and putting so much effort into it! I’m very impressed! That sounds awesome, I can’t wait!!

I'd love to see this for the A7S III when it comes out, do you think that's something you would consider? How long does it take you to create something like this from scratch?

It could take months, it depends on the number of surprises I encounter. The Sony world is really in need, so I'd like to look into it. I hope they add 10 bit especially

Hey Cameron, I sent out an email ;)

Honestly I think the rolloff is the biggest reason to use this LUT. It's the only thing that really sticks out as unnatural on the GH5. The colors aren't so bad, and unless you have a side by side, most won't notice and it's more about preference, but the orbital roll-off just looks totally weird on the GH5. The before-after rolloff image on your website really show's the difference. I don't have your LUT so haven't checked it with 8 bit, but the GH5 8 bit v-log has always been really bad to convert so I avoid using it, otherwise, most of my sports and outdoor work I would shoot almost exclusively in 60p. I think that's an area you should really focus on explaining more. Maybe give a few more comparison examples of your LUT on 8 bit footage vs. the standard rec709 conversion. Great work dude.

Herbie, thank you for your thoughtful, polite response! It has been hard reading some of the less informed reactions here. This is a raw rolloff comparison: emotivecolor.com/img/v3rolloff.jpg The core conversion is actually to LogC, as measured through the lens (without a look). Cameron was actually using a look lut after GHa for the wedding shots here. Apart from LogC, there are three neutral color base options - Main or Soft (which have the lowered 'Sicario' 75 IRE highlight ceiling, and Linear, which is very contrasty like the LogC+R709 route. The unifying element between these three EC variations is that they have a film-styled envelope in addition to LogC and the Arri 709 primaries (built in to one), not unlike a standard Technicolor handling of Alexa footage. Here is a video with the raw 'Main' variation (no color grading whatsoever): vimeo.com/280805489

I had same idea :) what I do in DavinciR 18.5 beta2 : 1/ in project no color management 2/ in the nodes section: from V-Log into ARRI LogC -> CST: from ARRI WG 3/ARRI Log C3 into DAVINCI WG/intermediate -> ....edit .... -> CST: from DAVINCI WG/intermediate into rec709/gamma 2.4 So that my edit stays in the DAVINCI Wide Gamut color space.

Place skintones between 45-55 IRE for VLog. The Cine-D equivalents are in the Pdf; its about the same for Cine-D midtones. For VLog, 65 and above is the rolloff (avoid placing important scene elements here)

Any update?

Consumer Dossier no update yet!

​@@EricTMeraki he just came out with a v4 update for the GH5 and a version for the GH5s, I've downloaded both

@@lenufotografiaefilmagem7539 he just came out with a v4 update for the GH5 and a version for the GH5s, I've downloaded both

Robert Alvis thanks brother , I own a Gh5 now, ended up selling the GH5s , I needed the IBIS

Sundeep Guntu it’s made for v log so yes if shot in another profile

Yep! 100%

thanks Cameron!

Same! Since the tutorial, I’ve even been more impressed! Worth every dime

@@CameronGallagher so i can simply shoot VLOG-L 8bit or 10bit, white balance correct and exposure correct on a second node... Then create a third node and drop the lut of choice (hard, soft, linear, or LOG-C) onto the footage?

Yep! That’s exactly how I use it!!

@@CameronGallagher Can I use it with the Final Cut in the same way?

Yes!@@alinstancu1233

Paweł Goduń you ever get an answer?

Completely disagree. When using this with proper color grading or correction, it’s mind boggling how nice this is. I use it on 75% of my commercial/narrative projects

Please, take a closer look Aram - Another look lut was used after GHa in this review. The core conversion is simply a measured GH5 VLog to Alexa LogC - with raw side-by-side footage provided from each camera so that everyone can verify the match for themselves: tinyurl.com/ybfyfub8 This is the raw 'Main' conversion, with no color grading whatsoever: vimeo.com/280805489

Cameron Gallagher Not only after color grading... the straight V-Log to Log-C conversion is already 99,5% identical to real Log-C... both in term of hues accuracy, and saturation level between the individual hues. Also, the Gamma conversion is stellar (identical to the real LogC gamma). Since the GH5 has only about 12 stops of DR (compared to the Alexa with 14+ stops of DR), the highlight roll-off happens faster... but other than that... this conversion is freaking pure. Those who are saying anything else is either colorblind, hater or they have simply no skills/experience at all in spotting differences between different cameras. I know the pure Alexa look very well, i can pretty much tell if something has been shot on an Alexa, 95% of the time. not the ones you see in Michael Bay’s bombastic movies with agressive Orange & Teal color grading.... i’m talking about the colors straight out of the Alexa, pure Log-C (converted to Rec709). The colors are IDENTICAL, skintones are perfectly on point every time, the highlight roll-off is perfectly smooth (even though the GH5 has less DR, it still works beautifully). Until we make a real Alexa vs GHa comparison, side by side, in different scenarios... there will always be tons of haters saying it looks nothing like the real thing... even though they don’t even know what the real Alexa looks like without any color grading. This is truly sad. Alex, we need to do something about this LOL

@@alexmack7610 what about sony a7sii s-log footage?

maybe some people including me have to accept the color grading is an artistic profession, an artform. If you are shooting a film with GH camera's in vlog you have to collaborate with professional color graders in a team in my humble opinion. Director, DP and colorist sitting in a color grading room with calibrated screens on their film. This LUTS alone won't help people, you can't be jack of ALL trades. You can maybe be a composer and editor, but you can't do every craft as well or artistic. Well enough isn't enough if you have ambition to make films, and skill is more important than 'toys' IMHO.

All you need to do is just Apply either the daylight or tungsten to your V-Log Footage! I recommend adding a node before to correct any exposure issues and white balance issues, but just on the VLOG

so what about the daylight log c,lut , i would apply that and the daylight soft, i guess that why it dont look good

Hi Cameron. Is this LUT destructive? In other words: does it crush the blacks / whites if the exposure is incorrect? Because if it doesn't, to me it would make more sense to do exposure changes post-LUT (as Leeming LUT recommends).

Indeed, the ideal use of EC is to place the luminance shift *after the conversion, to maintain LogC accuracy (and expose moderately for the desired end result in camera), though there are creative benefits to placing luma before the conversion should it be desired

I'm guessing it was mostly 8bit because of the slow-motion. GH5 only does 10bit @ 24p or 30p.

@@rizzo-films it also does 10bit 50fps in 1080p

@@greenjeenzz Haven't explored the 1080p side of the camera much, that's awesome!

@@rizzo-films I use it quite often and get really good results, you should check it out for sure :)

@@greenjeenzz it's amazing because when I apply a grade from a 10bit 24p 4k clip to an 8bit 24p 4k clip from the same shoot, colors break down, especially in skin tones. It's ugly. I have to work HSL secondary magic to fix weird, blotchy areas.

I recommend being around 60-70 IRE

@@CameronGallagher Okay awesome, thank you!

I'd actually recommend placing skintones between 45 and 55 with VLog L. Avoid below 40, or above 60 (above 65 is the rolloff region). By moderately exposing, the clip won't require luma adjustment before the conversion, which allows complete accuracy for the LogC transformation at core. Hope that helps!

@@alexmack106 thank you very much kind Sir! After testing I did notice that above 60 it tends to wash out skin tones so I'm going to probably have a secondary zebra at 60 IRE for skin tones.

Sure thing; a restructured Pdf is coming shortly, that should bring everything into focus

The bundle!

Yes - with *VLog, you can use .vlt previews. But the .vlts are not very good because of the 17x limitation (prone to banding etc.) External monitors that accept .cubes allow full quality 33x previewing

It won't - it needs its own version (as does the S, all told). Those are coming up later this summer

Yes!

The main issue is that concerting Cine-D to VLOG isn’t really a true conversion. Cine-D has much less DR, even when properly exposed! GHAlex has a Cine-D LUT I believe! The GHA LUT does slightly bloom some highlights but my guess is the conversion is where the issue is! Try a few other clips, and try exposure changes prior! Also, I can’t recommend the VLOG upgrade enough!

@@CameronGallagher after cinelike-D to v-log conversion, it looks like v-log, but the main problem is, that after cinelike-D to v-log conversion the image becomes lot brighter, and it's very difficult to fix. I don't really care about less dynamic range, I just want the same cinelike-D image quality with ghalex colors. By the way, let's say I shoot v-log, is it enough to put ghalex lut? should I do color grading, add contrast after this lut. I just want to keep things simple, can I change cinelike-D colors to ghalex like I change it to rec709? If it's impossible, how can I bring back my image quality I had before cinelike-D to v-log conversion? I want similar brightness and contrast like original cinelike-D image without much work.

So the problem is, even though it may look the same, the way the footage works is very different, which is how the GHAlex LUT works. Personally, I do ALL exposure and basic color corrections before any conversion LUTs

@@CameronGallagher I see, but what if everything is fine, exposure is pretty good, no need to correct anything, but after this cinelike-D to v-log conversion things become complicated. contrast is lost, footage is overexposed, and the whole image doesn't look right. everything looks pretty good if I am converting cinelike d to rec709. I can't understand it, what I am doing wrong.

Abhi, an orange and teal lut was used on top of GHa in this video. Alexa shoots to LogC - which is what GHa converts to for the core variation (measured camera to camera, not CST). I own the Alexa - which is how I made the conversion. Here they are, in side-by-side with Arri R709 applied (Panasonic V35 for reference): flic.kr/s/aHsmzCgFFP And the raw footage from each: www.mediafire.com/folder/x3ub82eh21u63/ALEXA_vs_GH5_(Side-by-Side)

Paul - Cine-D is natively supported - use the Cine-D PRE in advance of the conversion. It is much more accurate (made with the same system as GHa itself). Cine-D does have the same information as VLog, the only difference is that ISO 400 is labelled as 200 for Cine-D.

VLOG

We Are Film thnx for your response! The vlog i understood but better said, what style, like sharpness , NR , contrast etc. thnx in advanced!

I wonder the same thing. Looking forward to a reply from Emotive Color

Cine D as well!

'Main' and 'Soft' definitely bring down the highlight ceiling to conform to the 'Sicario ceiling' (75 IRE) - 'Linear' doesn't do this. But that is actually separate from the rolloff - have a look: emotivecolor.com/img/v3rolloff.jpg

Yes, its something that is on the roadmap.

It has 3 R709 variations (Main/Soft/Linear), along with a LogC variation that can be used in conjunction with Arri's standard R709.

If it can support LUTs than it can

Hmmm, that’s odd! Are you using it on 10 or 8 bit footage? Are you shooting in LOG?

Its almost certainly the exposure that's at issue - be sure to read the Pdf, specifically page 3 and the supplemental waveforms. It is also possible that a setting is off somewhere in the chain. When not using VLog, be sure to use the PREs. *And be sure to try Linear. Send me stills from footage you are struggling with, and I can figure out what's wrong.

@@alexmack106 thanks for the reply. where should I send the stills to?

@@stastro1785 emotivecolor (at) gmail (dot) com

Different strokes for different folks I guess! It might be that the video only shows Main (this came out before Linear, which many prefer for the higher contrast ceiling)

Yeah it's a preference thing. I personally like a bit less contrast, like that filmic look, which tends to pop more in darker rooms like a theater or a living room with the lights off when you're watching a movie and you can actually see more. On mobile or computer screen in a brightly lit room, higher contrast tends to pop more.

Similar, but better! I did a video about a Linny LUT rebuild

If u make one for S-log and it looks like this, I will be willing to pay money for it. In fact I think alot of people would.

Christ Timbuleng tell you what il have a go at doing it manually today. If I get a good match I will post s video showing how to match the look for free. :)

@@biscuitsalive I will be looking forward to it!

@@ricktim8402 Almost there for Sony. Also, I should mention with regards to the core LogC variation, it is a 1:1 measured conversion, rather than a look (this video used an O&T following the V2 conversion) . I did this by writing my own interpolation engine in C++ and creating a color sample system that nets about ~27K samples per camera (still working on it)

@@alexmack106 I will be checking your website everyday for it

Yep!

It doesn't; I hope to look into Canon in the future. The best one could do with Canon at the moment is a CST transform of Canon log to VLog ahead of the conversion

@@alexmack106 ok yeah I know, which one could you recommend? Cinestyle?

@@gregorgraschitz Ah, if it is a DSLR, I think they don't have the Canon log of the pro line (which has locked-down color gamut and gamma). For now, hang in there - I'll really need to take a look at the Canon DSLR line and see what can be done.

@@martiniustollin Oh yea, Fuji definitely has my interest. I might be able to bring it to a Canon - It would likely be a 709 photo style, to maximize 8-bit in that case. 10 bit is really the way to go though.

Yes :)

Hey Anthony, I've noticed this seems to happen on certain phones/carriers. Where you using a phone? If so, what is the phone/carrier?

@@alexmack106 i was using a computer. i just had to keep refreshing until it pulled up, now it's working fine.

@@VisualAnthony Interesting. Thank you for letting me know!

@@alexmack106 my pleasure! great channel.

@@VisualAnthony Thanks Anthony!

Nirmit Gire it does in 1080p

Do you have footage to take a peak at? I’m curious what the Raw vs LUT looks like

@@CameronGallagher Hey, thanks for getting back to me! This clip is first Vlog, then GHa applied (tungsten) then a picture taken with a phone to show what it looks like. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-2EMq0-Si34c.html

@@lukestarkiller7706 Use the 'Linear' variation. Then be sure to read page 3, on conforming to cinema luminance, and study the supplemental waveforms. Contrast in film is a very defined thing; those supplemental waveforms from actual films will help this all to 'click' in. What's your email?

@@alexmack106 Wow, Alex, thank you so much for the help. This is huge. my email is ldent@mittcom.com Thanks for taking the time and thank you Cameron for the help as well, I don't even know what to say!

Hey Matt, Alex here. I measured the GH5 for the conversion, so the S technically isn't supported. Because the picture profiles are close, people use it with the S anyway, but I want to specifically measure the S in the future (and then release it as an update to the S group)

@@alexmack106 That would be awesome. Tnx for the honest answer. I'll wait then. Any timespan on that?

@@broodjeaapfilm6575 I'm *hoping to get to it before the end of the year, but you never know. Hopefully sooner rather than later. But the P4K will come first

Yep please announce when the GH5S is ready, thanks@@alexmack106

@@alexmack106 If it will be for GH5s i will buy both straight away ;)

Yes - though the documentation is for Premiere and Resolve (for the moment)

It is - Cameron was using another look after GHa here. This is the raw GHa (no color grading): tinyurl.com/y9luaz6t

Yes I’m using a stylized grade, which I mentioned in the node tree breakdown. Our weddings are stylized, but the GHAlex LUT looks great underneath

Could be your Footage, because I’m not getting any pink. Possibly try pulling it out of the mid-tones

This may be a sign that the white balance is off on the magenta-green axis. You'll want to correct for WB using the temp/tint sliders ahead of the conversion (shown in the Pdf). *When there is no neutral white reference to pick from, I like to rely on skin tone to reveal if WB is accurate along magenta-green (the Tint slider). It should fall right on the skin tone line on the vectorscope (as in the Pdf)

@@CameronGallagher I will try then, it's weird because on some footage I got and on another no, and I'm shooting in 4k, 150mbs, 10 bit. Thanks

let me do more test ,thanks

hey Alex , could you make a video how to do properly on Premiere ?? that will be fantastic ,thanks !!

It's coming soon!

It’s designed for the GH5, but I’m assuming with a little tweaking could be perfect

Here is the rolloff of GHa: www.emotivecolor.com/img/v3rolloff.jpg The Resolve tools are nice, but entire focus of GHa is to measure exactly what each camera is doing, and do a precise transform between them. From before: "Hey Tom, yes Resolve is a great tool! The CST feature is really handy and I love it. That said - I made this because it is so much better ;) The inverse is the case - Resolve CST is actually a kind of general fix all that is not tailored to the actual measured color sci results of each camera, but rather uses the parameters of the camera color space that were released from the manufacturer (i.e. generic VLog and V Gamut - both for the Varicam and the GH5) What I did, (because I am obsessed with this singular goal) is measure the actual camera results using a color sample system that nets 27K sample points. Then, I coded a program in C++ to do the transform between them (a tailored process, if you will)" "If this is in any way a financial stretch for anyone, I don't want them to get it (granted, they likely wouldn't have a GH5). I have put my heart and soul (and significant investment) into this for so long now, issuing free updates to everyone because I want them to have the *very finest work of which I am capable. Take a look at the raw footage side-by-sides from each camera - these are provided so that everyone may confirm for themselves that every single point in the VLog color space has been seamlessly matched to LogC, as measured through the lens. For some, this is worth it, and meaningful, and for others, its not. And that's ok with me."

*directions unclear, cut off arm*

David, I reply, and will reply, to every single email I get. Ask anyone who has ever emailed me, customers or no ;) If you emailed me, I definitely replied to you, most likely within the hour.

alex replied to every one of my emails, check your spam folder

what makes u say this

Will do!

It’s more about the colors/highlight than it is DR, but that sounds great! I can’t wait to give your LUT a look!

Yes - it says directly on the website that there is an accelerated rolloff to compensate for the earlier clipping ;) And sure, you can do a good match in Resolve - but I am a nut, and good enough wasn't good enough for me. There's no room for masking things with less contrast - the core conversion variation is a 1:1 to LogC, as measured through the lens on both cameras (not a whitepaper color transform). And last, raw footage is provided from both cameras in side-by-side, so that each person can confirm the accuracy of the match for themselves.

Yes!

@@CameronGallagher96 awesome stuff, i didn't notice any macro blocking

It’s not exactly the same! The color transformation is great, but I’ve found your not getting the same natural look, and it’s more of an “under the hood” change. I use that when I’m using LOG C LUTs mainly

Hey Leigh! Resolve + CST is a great tool indeed. The way this differs is like a tailored suit compared with a suit, so to speak. Every tiny nuance of both cameras' actual color sci result has been measured, with a computed transform between them.