GHAlex Walkthrough - How to shoot and grade it for GH5

How to shoot and grade (6:50) the GHAlex LUT tested in my last video.
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[@CountSorinsRealm]

I've searched for this video for my entire life. Or at least, since I bought the GH5/5S. Thank you very much!

[@ShotByMyles]

Haha I’ll still gladly take that, thanks a lot!

[@malageb1]

Thanks for your tutorial, it's very detailed, I find it helpful. The exposure and white balance adjustments ahead of the lut are the key to make it work.

[@highviewmedia2160]

Great walkthrough for FCPX and GHAlex LUT! Thanks!

[@mateuszpusiewicz8851]

your videos are gold! Reading the title I was soo happy to click the video! :D

[@sitedev]

Fantastic video - great walkthrough of the entire process from multiple perspectives. I found your channel yesterday and am slowly working through your back catalogue :) I use 2 GHS’s as my primary cameras and am also an avid FCPX user - so I appreciate the small treasure trove you have created. Thank you.

[@ShotByMyles]

Great to hear it, thanks Chris!

[@alinstancu1233]

Thanks Miles! Great piece of work! Will be nice to see your workflow for night shots....

[@RandyParsley]

Thanks! I don't use Final Cut but so nice to see someone walkthrough the steps of using this lut in post.

[@ShotByMyles]

Cheers Randy, glad it was helpful! Obviously I'd defer to official instructions if you're on Premiere or Resolve :) but I'd still want to consider the order of operations and what's in the highlight shoulder zone before it goes in to the LUT.

[@MikeErickson]

This is great, exactly what I was looking for. Thanks man!

[@ayidrenetwork8822]

Thanks. Useful and informative. Think I'll go ahead and purchase the GH Alex Lut. Thanks again

[@OnassisRabanes]

Thank you for posting your workflow!

[@fotofilmed]

love your work, easy to follow

[@johntbd]

Very helpful video. You do great run throughs.

[@ShotByMyles]

Much appreciated!

[@SeaUrchinFilms]

Super useful and clear, thanks!

[@BrunoBrosVideo]

Very helpful! Thanks!

[@jesse19skelton]

Nice, man! I remember asking for this vid on Reddit lol. Thanks for delivering.

[@ShotByMyles]

Haha glad you caught it in that case! Thanks for watching :)

[@buddyfx7026]

Thanks so much for sharing this very handy information at no charge, very much appreciated. Also your videos lol LOVELY! Definitely inspires me to create better colors both in camera and I'm post :)

[@ShotByMyles]

Thanks for watching and for the extremely kind words! Hope you have fun with it :)

[@buddyfx7026]

@@ShotByMyles I definitely lost a little sleep lol! Will be watching much more of your content :)

[@BK42Cycles]

Awesome! You are the best GH5 master!

[@ShotByMyles]

Far too kind!

[@lalallalalaaa863]

thanks for the video ! it was great to see the whole process. One question , i see you use color checker , when in this post process do you apply color chart correction (like in davinci resolve, dont know if final cut has this functionality), thanks in advance for the answer.

[@Renaldo868]

Thank you, i really appreciate this.

[@ShotByMyles]

No worries!

[@andreasbulowhansen9413]

Really informative

[@kathyrinejucar]

Thank you!

[@joentell]

I think this was terrific. I think the OLPF (optical low pass filter) step is meant to add bloom and halation to the image similar to using something like a pro mist filter. I'm curious how you went about the part where the document talks about hue twists and how to prevent them. I'm using FCPX also.

[@ShotByMyles]

Thanks for the comment and for the detail on the OLPF later! My understanding on the hue issues was that they were a ‘feature’ of Premiere, which is why there are Premiere-specific correction LUTs given in the pack. It’s certainly not a step mentioned by the LUT creator when I asked him about the FCPX workflow. Unless you’re referring to the impact of using higher-than-recommended ISOs? If so I don’t do anything differently by default!

[@alexmack106]

@@ShotByMyles The hue twists with luma tools are also a problem with FCPX and Resolve. I don't know how to correct for this directly in FCPX yet, but there is good news. I will have a solution in an upcoming update that will bring hue *& sat lock luma shifts to the table, regardless of NLE, and will be easy to use.

[@jonynguyen7969]

How would you set your white balance for night shots outdoors with the changing lights and scenes. planning to shoot some night scenes with the ghalex and vlog

[@jl6524]

this is awesome, tysm

[@diskomiks]

Another great vid. How would you set up skin tones Zebras for HLG to use with GHAlex?

[@ShotByMyles]

I would set to 55 if you were only going to shoot in HLG as the safe skin tone range goes to 55. Then if you reduce your exposure until the zebras disappear you should be in range. I only say 60 in the video as it's more flexible if there's any chance of you flipping between that and the others. It's also very close so in practice you might not notice much of a difference. As you can tell from my HLG examples I don't use it much so definitely test it out before doing anything critical! Thanks for watching and for your comment!

[@ChannelWright]

Informative - thanks!

[@ShotByMyles]

Thank you!

[@haroldradido]

Thank you, kind sir!

[@98JamesNixon]

Hope he brings one out for the GH5S!

[@JimmyBlanco]

i would be interested in a future video about the skin softening process if you're ever up to it, I use premiere btw

[@giulioraimondo9359]

That was a great video mate! well done

[@ShotByMyles]

Much appreciated!

[@markfriday]

Hi, Myles! When would you expose to the right and when to the left? Right means highlights and left means shadows, right?

[@ShotByMyles]

Hi Mark, that’s probably too big of a subject to tackle in a KZbin comment- I noticed you’re working through a lot of questions about how it all works at the moment, did you consider my course to get up to speed and have an overview of everything?

[@markfriday]

I kept laughing when you masked that "big chunk of skin" from the girl's leg and Caleb of DSLRVideoshooter's forehead, hahaha!

[@ShotByMyles]

I'm a delicate, considerate masker haha

[@Q2Japan]

Thanks for another cool video Myles :) Just got my GH5s with Ninja V setup. Something I'm wondering about is when I look at the footage on the Ninja V (with the LUT) the colors look beautiful (also shooting in vlog). But when I edit in FCPX I need to really boost the saturation with the color wheel. Is that the right way to go? I feel like I'm doing something wrong. *Just watched your other videos and I think I know where I went wrong. Should have done more research!

[@ShotByMyles]

Glad you’re sorted! If you’re using the GHAlex LUT with the GH5S don’t forget it’s actually a different colour science so it’s not technically optimised for the GH5S. It might be a bit more red, so maybe a hue or saturation shift will help. I’m jealous of your Ninja V, enjoy!

[@Q2Japan]

@@ShotByMyles cool cool, i'll keep that in mind! And it's a lot of fun but comes with it's hastles too haha (battery, memory, weight etc)

[@ShotByMyles]

Q2 Japan so I hear, thinking about it as a second cam :)

[@Q2Japan]

@@ShotByMyles no doubt you'll produce beautiful work regardless :) cheers man

[@secretreleases]

Thanks for the guide! I've never used FCPX but I wonder why the Adjustment Layer route wouldn't work?

[@ShotByMyles]

No problem! Well there is no supported adjustment layer in FCPX- people are ‘faking‘ it using a title which happens to apply changes made to it on to the clip below it. Honestly I think it would probably work if everything was done on the same adjustment layer- I now think the order of operations is bottom upwards on the layers which might’ve caused the biggest issue I found.

[@nauticfilms]

@@ShotByMyles I can confirm that the order of operations in the adjustment layer stack is bottom to top.

[@Laygtraveller]

Mate with the latest GH Alexa V4 do we need to keep zebras at 100 and 60 for skin when shooting in Cine D ?

[@ShotByMyles]

I must say I haven’t used the latest- I’d suggest messaging Alex the creator if you are in any doubt as I found him quite responsive!

[@KCshi]

It's really helpful, by the way, did you use diffusion filters with your clips in the video ?

[@ShotByMyles]

Thanks for that! No I didn't use any filters, the LUT makers recommend it though plus some blur added in post to help highlight roll off even further.

[@PhilippeOrlando]

Extremely useful. Thank you so much for this. Now, if I understand well, you've found out that the GHAlex Lut works with CinelikeD and HLG? As long as color management is right, of course. I thought the LUT was exclusively designed for Vlog? Thanks again.

[@ShotByMyles]

Cheers! The LUT is designed for V-LogL but it also comes with conversion LUTs to translate Cine-D or HLG in to V-LogL, meaning you can then apply the main LUTs and they should behave the same. It's not a simple workflow for sure because of the sensitivity of the LUT- the exposure needs to be great going in so that you don't get weird colour shifts!

[@airfox]

Any ideas to avoid magenta macro blocking using ghalex along with 10bit? I'm seeing it in a lot in my whites and grays with that and other luts. thanks!

[@ShotByMyles]

I must say I notice artefacts too- there’s noise visible in the drummer shots here as well that I think is mainly due to the LUTs now that I’ve tested further. Honestly if the LUT is causing macro-blocking and you think it’s having a significant impact, then I’d just take the LUT off and do something else. If you’re seeing it in skin tones then something like the Cosmo plug in could help, or you could try to target the problem magenta hue and de-saturate it in the affected area, but ultimately it’d be easier to go a different route entirely. An alternative might be the v-log LUT I’m giving away for free (see my other videos) and you could pair it with HLG to log or cine d to Log conversions if you didn’t shoot v-log. If you want to check out example footage there’s some here: vimeo.com/391864668

[@airfox]

it seems like its more the gh5 creating the magenta. ill check your luts out too!

[@JamieFenn]

Im confused - youre showing zebras and skin tone values for vlog but your camera during the demonstration is rec 709L?

[@ShotByMyles]

The skin tones IRE values are given in the slide at 6:13 for Cine-D, Log and HLG, and I can only imagine I'm demonstrating the act of reducing the exposure and seeing the difference in the zebras in the B roll, unless you can give me a time stamp?

[@badboy2577]

Dope Review.What lens did you used when shooting the first introduction gorgeous videos?

[@ShotByMyles]

Thanks a lot! All the lenses should be in the description, it was all a mix but if anything looks like a telephoto / has some compression, that'll be the Leica 42.5mm f1.2, and the gimbal stuff probably the Sigma 18-35 :)

[@markfrost9768]

Thanks for the video! What REC 709 conversion LUT would you recommend for Premiere? And in Premiere, does the problem with adjustment layers happen there too?

[@ShotByMyles]

This GHAlex LUT comes with specific instructions and files for 10 bit footage in Premiere, so it’s probably more accurate but you could try the free LUTs I give away in my other videos first if you preferred! The adjustment layer issue was definitely just FCPX :)

[@markfrost9768]

@@ShotByMyles Thanks guy! And by the way, if you made a colour correction tutorial Udemy thing for Premiere, I'd buy that in a heartbeat!

[@ShotByMyles]

Mark Frost thanks a lot, appreciate that :) it’s on my radar but honestly not sure if I’ll ever get through my list!

[@markfriday]

Hi, Myles! It's me again! Thanks for this video! Do you suggest overexposing by 1 stop for V-Log L for the GHAlex lut?

[@ShotByMyles]

Hi Mark, v-log should be exposed neutrally for GHAlex :)

[@markfriday]

@@ShotByMyles wow! Really? That gives me a peace of mind, haha, I remember lots of people saying that you have to overexpose by 1-2 stops for v-log.

[@ShotByMyles]

That’s true they do, that’s mainly to get the cleanest shadows because v-log’s advantage is in retaining the highlights and it has less noise reduction compared to the other profiles so over-exposure helps it out a bit. The makers of GHAlex though are quite clear they want ‘normal exposure’ so they must have found that the best for colour :) they probably also assume people will do noise reduction if it’s a problem (which is common with log or raw profiles)!

[@MikeBrayton]

Love your presentation style Myles. Thank you for this. The PDF shows the steps being 1. Convert to VLOG... 2. Correct exposure (by loading one or several of the PRE LUTs)... 3. Correct White Balance... and then apply the Main/Soft/Linear/LogC Luts... but you did steps 1-3 in reverse order. So I guess the order of those first 3 steps doesn't matter as long as steps 2 & 3 don't come after the main conversion step 4?

[@ShotByMyles]

Thanks a lot Mike! Since I made this video the creator has released an update which includes a new PDF with FCPX instructions, so while I'd always defer to their expertise, I personally think your conclusion is right which is to ensure the WB and exposure is corrected before applying the Main / Linear LUT. It makes sense to me to do that before the conversion from Cine-D to v-log because the exposure and WB changes are demanding, but if they recommend otherwise then I'd defer to them or test both on a clip to see if there's a meaningful difference :)

[@MikeBrayton]

Thanks Myles. I didn't see any difference on first glance moving the order pre or post color space conversion... but I'll have to investigate further. Those exposure LUTS they provide are intended to come after the conversion... but it also makes sense to me to fix exposure (and white balance) before hand, just like we do in camera. Thanks again for all the info. Off to take your courses now! All the best.

[@ShotByMyles]

@@MikeBrayton Good point on the exposure LUTs, I've yet to try the new conversion and that workflow! The crazy thing is Alex the creator emailed me and said I was partly the inspiration behind the auto black level process, so I presume that means he saw something funky in this video haha Appreciate your support, all the best!!

[@MikeBrayton]

ha! Well, I didn't... Ignorance is bliss.

[@erroltangco]

Hey Myles! Errol here! Been watching this GHAlex lut videos you have and they're absolutely outstanding! Just a quick question, since most 'ALL-I' are in 1080p, does that mean none of your test shots were shot in 4K? Asking because I'm looking to shoot in 4K but mostly only available in 'LongGOP'

[@ShotByMyles]

Thanks Errol! I know they recommend shooting in ALL-I and 10 bit, but honestly I’ve been using 8 bit 100P in cine-D (plenty of the drummer shots will be in that mode!) The results might not be perfect (you can see some noise if you look closely) but it works ok I think. I’m sure all-i is better technically given it’s recommended and might give more latitude!

[@DavidKfilmmaker]

Where do you get the cine d to v log transformation LUT?

[@ShotByMyles]

It comes with the LUTs!

[@andreacosta8492]

Hi, what is the cine-d to v-log LUT? I can't find it anywhere! if i've understood well you need first to adjust the WB and the exposure and then you apply these LUT and then the arri alexa lut. is it right? Thanks a lot

[@ShotByMyles]

It’s a LUT that comes with GHAlex! I would apply the LUTs first and go back to change exposure then WB... on FCPX or Resolve I’d make sure those adjustments are before the LUTs in the order of operations. With the LUTs active it’s easier to see the impact of your WB and exposure.

[@andreacosta8492]

Shot by Myles I’ve just found it! Thank you so much. As soon is possible I’ll make some experiments!

[@ShotByMyles]

Andrea Costa good luck!

[@diggyz82]

Isnt the order of the adjustment layers backwards? They are applied from bottom to top. Not like in the inspector where they go from top to bottom.

[@ShotByMyles]

That would help explain it! I’m not sure why adjustment layers would go from bottom to top in opposite order to everything else in the program, but either way they aren’t a native feature and I’ve heard of people getting colour casts when using them for colour work, so I don’t recommend it personally.

[@markfriday]

Hi, Myles! Is the GHAlex considered like a rec 709 lut that you have to apply another finishing lut for it or is it considered a finished look?

[@ShotByMyles]

It can be either... I don't use it a lot because of how time consuming it is to get right, but sometimes I'll just do a correction with the LUT and leave it there for a more natural but classy look, or you can grade it further if you want. It comes with a few variations with different contrast / saturations. It also comes with a version that transforms the v-log to Arri's LogC so that is obviously meant to be graded further using Arri LUTs.

[@markfriday]

@@ShotByMyles can you suggest me a workflow to use the GHalex lut but to finish it all of with the infamous orange and teal lut?

[@ShotByMyles]

This video should give a good groundwork for GHAlex, but if your end look is going to be teal and orange then I’m not sure GHAlex is worth the hassle... Have a google for ‘Osiris M31’ as that’s my favourite teal and orange LUT and it was a free download last time I knew! if you’re in v-log you have alternatives to get to Rec709 first like the v-log conversion I gave away in a different video, and then you can either add the teal and orange in the colour wheels or maybe go with a LUT and tweak from there 👍🏻

[@markfriday]

@@ShotByMyles wow! Thanks a lot, Myles!!!!!

[@TerraGermaniaTG]

I would like to improve the picture quality of my videos but I'm not a professional. I would very much appreciate if you could tell me the GH5 setting for the best out of camera picture.

[@ShotByMyles]

It depends what you're looking for- if you don't want to do anything and you want a contrasty and saturated look, you can use Cine-V. If you'd like to see what that looks like, the video I did of the Autofocus settings in the most recent firmware update was shot in that profile. For something 'softer' and a bit more stylish and filmic, I like the settings I give out in this video: kzbin.info/www/bejne/qZSoZIWtjrZraNU

[@TerraGermaniaTG]

@@ShotByMyles thank you very much for taking the time to reply so extensively. I will take a look at the examples. all the best!

[@ShotByMyles]

No problem, good luck!

[@CarlRing05]

Hi Myles, can i ask would you recommend the Laowa 7.5mm or Tokina 11 -16 with Speedbooster Ultra for real estate shoots? Thanks

[@ShotByMyles]

Hi Carl, I'm a bit biased but I would go for (and did go for) the Laowa. It should be marginally faster, slightly wider, smaller and lighter. I like that it frees up the speedbooster so that it can stay on the Sigma full time to save me switching it around. The Laowa is low distortion and sharp in the middle wide open. I can't speak for the Tokina on that front but I find zooms don't tend to be as sharp as primes as a trade off for the flexibility of the zoom. Hope that helps!

[@CarlRing05]

@@ShotByMyles, I think i will take the plunge & get the Laowa. I recently purchased your GH5 course on Udemy & enjoying how to use the camera better. Thank you

[@ShotByMyles]

Carl Ring that’s awesome to hear Carl, thanks! All the best with the Laowa, I do check focus before shooting but it basically ends up near infinity almost all the time and gets most things in focus- very handy for real estate! If you were thinking of buying from Amazon I’d be grateful if you checked out my link for the lens in the description- you pay the same price but Amazon would credit my affiliate account.

[@BiagioFerreriEventi]

Salve volevo sapere se é possibile utilizzare le lut di edius 9, grazie

[@ShotByMyles]

Biagio Ferreri Eventi sorry I don’t know, it depends whether Edius can use .cube LUTS!

[@BiagioFerreriEventi]

@@ShotByMyles edius 9 legge tranquillamente le lut, mi sembrava fossero lut particolari,

[@GlennUpgraded]

If V-log's max highlight should be kept at 80, how about on Cine-D 8-bit? What's the max for highlights before it gets blown out?

[@ShotByMyles]

Pretty sure that’s 100 Glenn or very close- anything important should be below 95 as I think some colour channels will clip before the 100 point even if it doesn’t appear blown 👍🏻

[@GlennUpgraded]

@@ShotByMyles thank you for this. I currently have a G85 but I have the GHAlex Lut, so I'm working on CineD 8bit only. Still trying to figure out how to set it properly while filming so I won't have much editing problems as I know it's difficult to push on edit 8bit files.

[@ShotByMyles]

No worries! Yes it’s difficult on any 8 bit but that’ll be especially compressed on yours I think... if I’m being honest I’m not sure it’s worth the effort but I have used it on G85 so it’s possible in decent lighting conditions with good exposure and WB in camera!

[@liamsilly]

Hey Myles, you mentioned not using multiple adjustment layers within FCPX, what if you used only one adjustment layer?

[@ShotByMyles]

Good question- tbh I wouldn’t personally because I’ve seen examples of hue shifts being done by the adjustment layer vs when the same effect is on the clip, but it might not be noticeable all of the time. I’m also not sure of the order of operations when it comes to adjustment layers as they aren’t an officially supported thing- for example, you’ll probably need to adjust each clip separately for white balance and exposure, and then if you have the LUTs on an adjustment layer I don’t know what order it’s all applied!

[@liamsilly]

Thank you for the advice and fast response! I hadn’t even thought of how adjustment layers might apply things in a different order, I’ll follow the steps you have shown in the video. Once again, thank you!

[@ShotByMyles]

lsillifant no worries cheers! It might work but since I got the result you see in this video I gave up :)

[@26alexxkidd]

Just use one layer, it won't be an issue

[@DrewHarmonyMusic]

Hey! I really hope you see this. But what are your Skin Tone IRE recommendations for People of Color, like the drummer in your video?

[@ShotByMyles]

Hey Drew, honestly because everyone's skin is different, I think the safest thing to do is use a grey card and expose for that where your subject is and that would give you consistency across all your skin tones (45 IRE for v-log, and he recommends 36 for Cine-D although I'm often more like 45 there as well). I've had a look back at my raw footage in case it helps, the drummer looks like he was between 25 for the darkest parts of his face and 57 at the brightest (Cine-D) which as it happens is very close to the recommended range for skin tones.

[@DrewHarmonyMusic]

@@ShotByMyles Thanks so much for responding!

[@warnjoke]

So when I shoot in lowlight, there is obviously not enough light. Then I should use cine-d at 200ISO, even half of the 400base to get better results in lowlight by capturing even 50% less light than before? Am I missing something or this doesnt make any sense?!

[@ShotByMyles]

That doesn’t make sense to me either but I’m not sure which part you’re referring to! If I’m shooting in low light I try to get the best exposure possible while staying below roughly 2000 ISO (depending on how capable your software is at de-noising) If you’re looking at the recommended settings for cine-d then yes it’s 200 ISO, but that’s a best case assuming you can nail the exposure at that ISO.

[@PhilippeOrlando]

I think you want to set the WB using a white card, not a grey one. The grey one is for the exposure of the skin tones, I'd say.

[@ShotByMyles]

Good shout, I probably should’ve mentioned a white card… but I think as long as it’s not black it’ll work if it’s neutral :) My colour checker only has a small white section too :(

[@lamartyrell8373]

Dope video I don’t own a gh5 and I was wondering will this work for the gh4

[@ShotByMyles]

Thanks! It was made for GH5 so the official answer is probably ‘no’. I’d say it’s worth a try but it’s an expensive LUT and already difficult to deal with on GH5 so might not be the best route!

[@lamartyrell8373]

Do you have any recommendations for the gh4?

[@ShotByMyles]

Lamar Tyrell I’m afraid I’ve never used one but I quite like the Natural profile of the GH5 so I’d guess that’s similar, with shadows turned down on camera it creates a ‘look’ without using LUTs

[@MarcAngello]

This was EPIC!!! Any chance you could provide some examples on Premiere Pro too? I know the GHa instructions are on the PDF but I believe you can provide more insight than the document does. :) SUBBED!

[@ShotByMyles]

Thanks man I appreciate it!! I have to confess I’ve never used this LUT on Premiere, but I’d do the same in terms of getting good white balance and exposure before applying the LUT if possible. If that’s not possible, I’d even try using the LUT in the creative section instead to see if it helps. When you’ve got the LUT loaded, I think the biggest thing is to try adjusting the corrections before the LUT first if the footage looks weird. If it looks ok and just needs tweaks, then by all means do those after the LUT is applied. I hope that makes some sense, I’d still advise going off the PDF as I haven’t tested it myself! Good luck

[@MarcAngello]

@@ShotByMyles - Thanks for that info! As I read the PDF more I'm learning that the GHa LUT doesn't work well with Premier when using GH5 VLog with a NinjaV due to the Avid Codec.. I guess when using premier it's best to use internal All-i. I guess that was one of the problems I was facing. The other would be choosing which combination of Input LUTS (PRE) alongside the Look LUTs works best. Especially considering some of them cap the exposure to 80 or so. I guess I need to play with them a lot more.

[@ShotByMyles]

Marc A. Oh good catch! That rings a bell, and there’s an additional LUT to use in some cases for Premiere only from memory... If you watch the video before this one on my channel I do show the differences of the Look LUTs- basically Soft has the lowest highlight ceiling and contrast, and Linear is the other end of that scale with the highest ceiling and more contrast 👍🏻

[@FRANKRICECOLD209]

Grate

[@MySouLisBlue]

pretty old video but still accurate, i wish other youtubers knows how to actually use Luts and stop spread wrong infos.

[@ShotByMyles]

Thanks Xavier, you’re right and I think since this video they’ve made a change to GHAlex but honestly I didn’t even try the update!

[@photographyskills7576]

I use hlg and in post when I add this lut.. many weird colour comes up.. reds , blues etc.. like burned colours .. this was really not nice..

[@ShotByMyles]

This is partly why I don’t recommend HLG, it can be a bit confusing to work with. I think you’re definitely missing a step though because it should look good in the end. In FCPX I had to change the LUT to REC2020 I think for it to work...

[@photographyskills7576]

@@ShotByMyles I use Filmora (for now) and I don't think I can change that rec2020 in it.. I just have to try it.

[@joentell]

I liked this before I even started watching

[@ShotByMyles]

Far too generous! Praying you don't unlike before the end haha

[@isart3757]

try this for better color n ARRI's skin Tone cined > vlog > logc conversion + color correction ,, ( no rec 709 .. too much artifacts in 8bit ) in davinci resolve add 400 contrast 50+ 20 saturation...... ,, luma adjust in h/s node set your white balance in camera.. day light: 5400 Kelvin cloudy: 5800 Kelvin tungsten: -100 from actual Kelvin

[@idvlog5000]

ЗБС. Чотко! Раз 15 правда пришлось пересмотреть.

[@MrC343]

I'm trying to set my Zebra 1 to 100% but it won't let me go past 80%... What am I missing? Current settings are C4K 10bit 150M 24P, V-Log L... Great video btw!

[@ShotByMyles]

Ah that’s because you’re in V-Log... in that profile your exposure / waveform / zebras only go up to 80. Anything above 80 is going to be over-exposed in v-log :) thanks!

[@MrC343]

@@ShotByMyles Much appreciated! Keep up the great work!

[@rokah1391]

What is ETTR Hence Noise ?

[@ShotByMyles]

ETTR means ‘expose to the right’ which means you slightly over expose (without blowing highlights) so you can bring down the exposure in post, which should give cleaner shadows!

[@rokah1391]

@@ShotByMyles people always say to over expose by 1st op for vlog. can't wait to test your ghalex. the lut can work well in a studio if the subject is lighted by a 5600k light

[@ShotByMyles]

It can be nice but just needs a lot of work! Good luck with it :)

[@murdock1655]

Can we have a new tutorial for the GH6?

[@ShotByMyles]

I'd love to, unfortunately I don't have one!

[@murdock1655]

@@ShotByMyles got it... GH6 is a awesome camera, nonregrets here

[@ShotByMyles]

@@murdock1655 beautiful, congrats! I bet it's a beast

[@murdock1655]

@@ShotByMyles Yeah... but it has a Streaking issue at low contracts that could be a deal breaker for many

[@ShotByMyles]

@@murdock1655 oh I heard a bit about that, I thought it would’ve been a pre-production thing but that’s pretty crazy if not. They’ve had a ton of time since the GH5 to figure it out!

[@thomasplatek4448]

Have I been saying zebra wrong?!

[@ShotByMyles]

Haha you just might’ve been!

[@killll]

I personally think this GHAlex Lut is a total scam and looks ugly af search on youtube " Rebuilding the $600 Linny LUT", it has almost the same effect like the GHAlex with soft highlights...you can use it as a base layer when doing color correction with putting your grading above it. Anyway, the video was very helpful for me in terms of how to determine proper WB 2:31 & Exposure 5:00 :)

[@ShotByMyles]

I’ve heard of people using it to match the GH5 to the Arri, so I don’t know about a scam but obviously if you don’t like it you don’t like it! Pretty sure I can pull off a similar highlight rolloff with curves, it’s just a lot more complicated to achieve what’s going on with the skin tones and the mapping of the colours’ HSL to get it close to the Arri. If you like that look of course :) Thanks for watching all the same!

[@alexmack106]

Hey Dakyner, just want to bring to light a few things. GHa is simply at core a LogC conversion that was made by filming thousands of color samples with both cameras at the same exact settings. Then these samples were fed into a program I wrote to interpolate between them. That's it (the LogC variation). To that end, I provide everyone with raw footage from both cameras filmed with the same lens and settings in side-by-side, to confirm the integrity of the work. The project has grown to encapsulate anything that may affect color in the pipeline, which is why I advise using those particular WB tools in FCPX - the native WB picker will adversely affect the accuracy of the conversion with a luminance shift. The guy who made the video 'Rebuilding the $600 Linny Lut', Juan Melara, wrote of GHa: "This is actually really impressive. Top work!" I will be glad to do a direct comparison of GHa to the rebuild, if you like. Here are side-by-side stills of the Alexa and GHa with Arri Rec709 (and Panasonic V35 709 included for comparison): flic.kr/s/aHsmzCgFFP Because I own the Alexa now, I will be doing a continued stream of side-by-sides as we go along (including .ari raw stills)