Got my notification that my unlock code has been shipped from B&H, and it's supposed to arrive tomorrow. All legit and legal! Lol

Since I upgraded to Ninja Assassin I'm selling my Ninja Star with CFast card and accessories. If anyone is interested send me a PM.

@lmackreath, I can't wait to see some of that! Hopefully my unlock code will be here today and I can start playing too. One thing I'm very interested in is seeing what YouTube compression does with the VLog footage. So far what I've seen looks like YouTube treats it pretty well comparatively.

Same here, but I don't lament my lack of a paid Vimeo account (or I would just pay for one I guess, Lol). Vimeo is really funky for me to watch a lot of the time, with a lot of random stoppages when the video is already loaded way beyond that point. I figure I can't be the only one, and YouTube works pretty well for me other than adding a bit of contrast and sometimes providing a bit less image quality.

Ok as mentioned here are some vlog tests I did at the weekend. All shot with the Voigtlander 25mm F0.95mm and graded with FilmConvert vlog profile in FCP X using the Kodad 5207 stock

@Tjabo thanks!!.. Here is the other one..

Looks good! Did you shoot it all in 1080/60P and then slow it to a lower timeline speed?

Also, how do you feel about the highlight recovery? In some of those hilltop shots do you feel like you could have pulled more highlight detail if you hadn't overexposed those shots by the full 2 stops?

Does anyone feel that 2 stops over is too much when using Filmconvert? A lot of my footage seems slightly over exposed, I tend to get better results with only 1 stop over.

When I was analyzing Dr_Jon's GH4 footage a while back, I noticed that Cinelike D is using xvYCC encoding. It's a trick to encode very bright saturated colors and out-of-gamut colors that would otherwise be clipped. If the GH4's luma range is set to 0-255, for example, the max luma value is 255 and the minimum is 0. After decoding to full range RGB, reference white is (255, 255, 255) and reference black is (0, 0, 0). But because of the way Y'CbCr works, the RGB values are not limited to 0-255. You can have a super bright red, say (330, 20, 20) that's actually brighter than white. And you're allowed to have negative numbers. So (-30, 200, -20) would be a super-saturated green, outside the sRGB gamut. With that trick Cinelike D actually has a larger gamut than V-Log L, but without sacrificing color precision the way V-Gamut does. If your workflow doesn't know how to deal with negative RGB values, they'll just get clamped to 0, which clips the colors to the sRGB gamut. It's a best-of-both-worlds kind of encoding: full compatibility with Rec.709, and a very large gamut for super-saturated colors.

Since v0.13 of my LUTs, Cinelike D is decoded using xvYCC, providing full access to those very bright saturated colors and out-of-gamut colors.

Here's a frame which was overexposed, clipping the whites. I applied exposure compensation in post to bring the exposure down to where it should be.

This version was decoded the normal way, clamping RGB values over 255:

This version was decoded with xvYCC:

Note how the second version has some very bright reds that were clipped in the first version. Of course the shot is still overexposed and the whites are clipped. You wouldn't normally try to overexpose. (I asked Dr_Jon to overexpose that shot for my analysis) But xvYCC is great for very bright saturated colors, e.g. red neon lights, that are much brighter than white. With xvYCC you can capture them and preserve their hue and saturation, instead of having them turn from red to pinkish-orange.

@crowbar Thanks for your comments. Like I said it was not easy using vlog in a run and gun situation. The main issue I had was being consistent in keeping the exposure two clicks above the norm. I did this by keeping my aperture constant (around F2.8) and using my Genustech variable nd filter to control the changing exposure levels in each scene. Nailing focus was also hard with the faded view of vlog through the viewfinder.

It was all recording using 8 bit internal. I have been very interested in the atmos stuff but money dictates that that is not an option at the moment. To be honest I am happy with Vlog and think when exposed\graded correctly it offers the best image profile out of the GH4.

I think I would struggle to shoot two stops over indoors and/or in low light unless I was using a really low f stop so for varied scene work I would stick with Natural..

@Vesku I think it is more to do with the youtube compression and the compressed file I uploaded to it. The file uploaded was compressed at 40mb/s in compressor and it still came in at 1gb. My local 100mb/s copy came in at 2.5gb and looks great played through my WD TV hub. That is not to say that banding does not still exist in the orginal, I just think it is more obvious after two rounds of compression...

@balazer, I'm a Premiere Pro user, so what would be the preferred method to utilize your LUTs? Guessing I'll have to delve into DaVinci Resolve?