[Chris Wright]

awesome! thanks for all your input. I didn’t realize how screwed up panasonic’s “official” lut was until I started this venture. makes me wonder if they had an intern make it in windows movie maker, haha!

photoshop is so much better for grading than lumetri, its almost sad, buts that’s another story.

[Chris Wright]

i put in all 3. the technical vlog to rec 709 to replace the offical panasonic lut(which has magenta problems), the carribean standard(designed for your sensor) and my old one(ex). I also attached their photoshop adobe camera raw .xmp files so you can edit them.

[Chris Wright]

thanks for your input. I went over your footage again and realized that it was so delicate, I had to start from scratch. I ended up actually reverse engineering the panasonic lut!

I have attached the xmp files made in ACR in photoshop as well as the 64 cube luts. Now you can edit panasonic’s offical lut(kinda) I fixed its incorrect skin tone(magenta?) and highlight rolloff(crushed)

i deconflicted your camera’s sensor with a new carrabean designed for it. you can add the saturation amount in lumetri

https://f1.creativecow.net/11662/gh5-standard-vlog-to-rec-709-and-carrabean-luts-with-assoc-xmp?uploaded=file

[Chris Wright]

yea, i see what you mean. It looks too saturated for your particular footage. you can change the lut’s saturation, black, white, highlight shadow inside lumetri. what was your iso? crazy that it looks so freakin good on 22 other clips, but on yours it looks like a vlogger’s grade, haha! anyways, thanks for your time!

[Chris Wright]

wouldn’t cineform proxies eliminate all 3 problems?

[Chris Wright]

hey Duke,

what’s up. Does your stuff look ok using the official gh5 luts? how about manually grading from vlog, any luck there?
my stuff is for really, really flat vlog settings, no grading before applying either.

[Chris Wright]

oh, btw, the studio guy has white balance and hue angle confused. If he was trying to do what I think, the correct way to fix this problem(if he bought the wrong key color and gels) would be to rotate the master hue in the camera so that they aligned to color bar green. this is not recommended unless you have a 10 bit or raw camera or you could get posterization when color grading the talent in post.

[Chris Wright]

it’s actually a 2 part question because you want to light your setup so that color bar green is [G] in vectorscope.
on waveform luma, green should be 45% ire luminance, YC 55% chrominance. the talent should be lighted separately at camera’s native iso and transformed 18% grey, 20 ire/yc to whatever luma curve its using. i.e. rec. 709 41%, slog2 32% grey.

your screenshots look way off because color bar green should point directly at [G] as a single line for a good key. any variation means that you have many shades of green and won’t key well. should be within 0.5 f-stops deviation.

the vectorscope should be hardware connected in-line with your camera so it matches precisely what your camera sees and is going to record. you will white balance to your greenscreen because of different temp of lights. The only thing that matters is if you can record native color bar green into your camera’s codec.

If you light your talent separately, you should have moderate control over how they look, but that is a secondary concern, once you get your clean alpha matte. the closer they match in white balance, the less you’ll have to pull 8 bit codecs around.

here’s a quick video illustration how to setup chroma and luma in vectorscope for greenscreening.
https://www.youtube.com/watch?v=Z07lKQg00Bg

it’s all pretty straightforward. The reason people get confused is from a barrage of bad information making everyone think they need blindingly bright green to get a good key. Actually, the opposite is true.

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[Chris Wright]

I played with fast color corrector, then rgb curves. I watched the scopes rgb parade/waveform and hls, then eyeballed it from ref monitor. This is why I don’t use lumetri, it doesn’t work or even have hue control. I screenshotted the scopes so I could compare them with the reference scope. there is no split scope like in davinci.

here’s my preset I made so you can see what I did.
11652_osmo2.prfpset.zip

[Chris Wright]

it depends on your client base. if you have a whole bunch of small clients who can’t afford to be nickel and dimed or a few big clients who can. it goes back to the old argument, per job or per hour. You can have hybrid up front costs for certain projects like dvd transfer compared to a 3D maya render taking 60 hours. for unknown render time, constant communication for job time estimates will keep both sides happy as there won’t be any surprise charges. THAT’s the most important thing, keeping both sides happy:)