More pure skin tone tests would have been sensible since this is where logC shines. And this is more than a CST or a lut, Panasonic has been very adamant on this matter, Arri mapped the GH7 sensor at a matrix level when producing this.
@McSnappples yeah it’s just a sloppy test, better to look at Slashcam, Blaine Westropp and Ed Prossers upcoming test to get a sense of what the camera is capable of with regards to logC.
Nice video! It looks like your effects might be in the wrong order. In Final Cut, effects are applied from top to bottom. You can easily verify this by applying the Colorize and Black and White effects. If Colorize is on top and Black and White is below it, the image will remain black and white since the Black and White effect is applied after Colorize, and vice versa.
This was an awesome comparison. I use Phantom LUTs and was curious how it would stack up to the Arri log format, since like you said, the Phantom LUTs are built to emulate Arri log. This is exactly what I was hoping to see. Very happy with the Phantom LUTs. Thank you for this Josh!
Based on the two shots (phone with trees), it seems the ARRI log provides a bit more dynamic range in the shadow, better rolloff and better color accuracy.
Hi Josh, To Match my BM cameras and GH5,5s S5 I use cinematch in HDR pipeline with CST and DaVinci Wide Gamut and Intermediate as Cinematch allows you a HDR pipeline since January and nobody is talking about that. You can get amazing footage with this pipeline in resolve n and I use if needed Filmconvert after it. I know you are a FCP user but I could really see a difference even in SDR using the new HDR pipeline recommended by cinematch. Don’t know if it exists for FCP but maybe
Thanks, Josh. I wonder if video agencies will start thinking of Panasonic as a viable camera for camera ops (instead of insisting that people shoot on Sony, RED, or Canon)?
Panasonic does not have higher level camera body now. This GH7 is at same league as other mirroless camera. They need model competing with fx6, c300, komodo, etc.
If Panasonic got their shit together that would be awesome. The Varicam was on its way to become what the Venice currently is until they botched that. Eva is done and they disbanded the pro video team due to horrible marketing decisions. And they were against improving their autofocus for the longest time until they lost even more market share to Canon and Sony. I’m a longtime Lumix/Panasonic lover and user but it just gets frustrating watching them when I feel they could totally take over the market if they wanted to.
Nice video. Personally think V log isn't needed either unless your wanting to spend time color grading every bit of footgae. I have often use the natural color profile on all the lumix cameras I have own. And never had any feedback saying it looks bad. Never had a client asking if footage will be shot in V-log. I do think log profiles have been pushed more by creator's who want to sell Lut packs or work for bands that sponser their videos by giving them free luts so they can they sell it to thier subscribers. The voice in my head says ' you shoot Vlog then drop a rec709 on it then add a lut. To make it look like a profile that is already in the camera so what's the point of shooting in it in the first place. ' 😅😅 I call it the voice of logic . Not slateing anyone who shoots in V log just don't think it's something needed as much as creator's say it is.
I'm gonna tell you the trick for ALL Panasonic cameras. DONT SHOOT V-LOG, just shoot CINE-D !!! Easier, cleaner, ESPECIALLY cleaner, ready straight out of camera as-is, and if you did want to adjust something, Cine-D only needs simple adjustments.
@@TopshelfJunior For what it's worth, GEXAR did a comparison of different video picture profiles, one in low light and one in more daylight situations. Worth a watch on his channel for anyone interested.
Regarding your first statement of "Personally think V log isn't needed either unless your wanting to spend time color grading every bit of footgae." I don't know about premiere or FCP, but in Resolve, it is VERY EASY to add either a LUT or color space transform node on the timeline level, so that every clip is conformed to rec 709. The other thing is, even if you shoot in a standard profile, such as portrait, landscape, natural, etc., are you actually free from adjusting the clip? Do all shots have perfrect exposure and color balance straight out of camera? Do you really NOT want the flexibility to make a lot of artistic adjustments later on? Another reason to shoot in V-LOG is because even if someone just wants to drop a 709 LUT on the footage, their all all kinds of 709 LUTS with different built in looks (For instance, take a look at the Varicam LUTs provided by Panasonic which convert V-LOG to a Rec 709 gamma / gamut. Now, if the standard picture styles work for you (or the new LUTs that can be installed in camera work), then by all means, use them. But if you are looking for flexibility, then shooting in LOG is really beneficial. Being able to capture a wider dynamic range than the 709 profiles is very helpul as well.
@@marinrealestatephotography I've never shot any Panasonic in STANDARD. However, I have shot GH4 - GH5 - GH6 - GH7 - S5ii all in V-Log and Cine-D, and everything...on every camera, in Cine-D just looks better outta camera, often times gets approved by clients with NO adjustments made to it, and also is the fastest to adjust if something is needed. Cine-D from experience has just been better and less NOISEY, especially.
I think you really should learn how log profiles actually work. Base on your comment I think you do not understand the reason for log, how it's important in maximizing dynamic range and matching color from different cameras. You will find it interesting even if you dont use it.
Thank you for this video. Very useful. It confirms to me that this is just marketing. For me it's definitely not worth spending that $200. They should have included it for free in the GH7 and maybe included it for a fee in the GH6, G9II (or even the GH5II and GH5s).
@@castielvargastv7931 This video fully demonstrates that it is definitely not worth $200 and it's just a marketing shuffle to fool fools... But hey, everyone throws money around as they please.
Most profiles like Natural, Portrait and CineD-V are more than enough for most users. V-log is only needed if you want to make deep color grading or if you want the best DR. But since V-log base ISO is higher, you must deal with more noise (and no it is not only because V-log has less NR with recent Panasonic cameras). So you can overexpose V-log by 2 stops (on G9II/GH7) or 2,5 stops (S5II) to get noise level close to the other profiles, but you need more light to do this, this means that if in low light you want the lowest noise at the lowest ISO, rec 709 profiles are better. However, even if it doesn't matter to old cameras like the GH5, G9, S5, S1 or S1H, recent Panasonic cameras like the S5II, S5II and S9 have nicer details in V-log than in rec 709 profiles. By exemple if you don't use V-log on the S5II in 4K, you will see much more edge sharpening and smoothed out details. This is why I only use V-log on the S5II overexposed to 2,5 stops, but if I want the best details, image quality and the lowest noise at low ISO (ISO 100), I use my S5 and S1 with Rec 709 profiles.
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