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JVC 4K cameras, including GY-LS300 - 4K for $2995, GY-HM200 and GY-HM170
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  • I dont think AE allows you to work in Y Cb Cr space - but I will check if its applicable in AE.

  • For those who prefer to use AE for correction and grading. You can use the Channel Combiner Effect to work in YUV space.

    This is a good article with a great example of sharpening only the luma to avoid halos.

  • @zcream For color correction in Adobe After Effects, I highly recommend the Color Finesse plug-in, which is bundled with AE CS5 - CC. It provides separate tabbed controls for manipulating footage in RGB, HSL, and YCbCr color spaces, orthogonally grouped in overlapping shadow, midrange, highlight, and master regions. Since it works as a plug-in in After Effects, you can create multiple adjustment layers on the timeline, each with its own independent, keyframable instance of Color Finesse.

  • Get mine tomorrow, finally!

  • Initial impression - very plastic! Lumix 12-35 vignettes like mad, 25mm prime fine, olympus 12-40 that came with it is nice, such a relief to actually have a camera shaped camera again, love being able to read focal point on screen, great to have nd's again and it'll be interesting to see some footage!

  • Very interested in results of this cam and Olympus 12-40! Also eager to see results of 1080p120!

  • I'll put something up once I have it, editing solidly today, which is a shame cos just playing with it last night I'm loving it! Did see a little vignetting on the 12-40 but not much. Just so nice to get back to something more ergonomic where you can press buttons and shit!

  • @Adam_Mercier got editing done and walked to the pond, shot some quick 4K j-log, handheld, mostly at about 250 so a little bit wobbly! But you can see it's pretty sweet.

    Sorry forgot you were interested in the lens as well, will try and get a bit with that tomorrow.

  • When you say lenses vignettes, can't you just change the sensor crop to avoid it? Or is it vignetting when it says m 4/3 on the crop guideline?

  • No, you can do the cropping thing. Apparently some lenses need more than others. Today seemed like the Olympus didn't crop at all without having to adjust.

  • Here is some footage I shot earlier this year with my GY-LS300 and Voigtlander primes (17.5mm, 25mm, 42.5mm).

    These are all ungraded, unedited shots that were downscaled from 4K @ 70Mbps to 1080p.

  • @Adam_Mercier here is the 12-40 Olympus

  • Anyone else got one of these? I'm shooting j log and just a bit concerned by the DR, don't know how to measure it but it seems anything with variety of light levels is a problem.

  • Actually just me being a dick and getting my knickers in a twist!

  • I can actually see using this a lot in 1080 for the 422 and the slo mo and the zoom from prime function. I am seeing a bit of macro blocking and muddiness that takes me back to GH2 pre-hack, though not as bad, there was macro blocking on this speaker but vimeo compression seems to be good at getting rid of it! The histogram was set up a little weirdly, for me setting your own stops not just 0 and 100 is new territory, though sure it's normal for most folk, but having adjusted it can get reasonable exposure again. Definitely miss the 10 bit but for the money it's a huge amount of camera.

  • Loving this camera.

  • @LPowell I am definitely on a learning curve with this, getting some nice footage and some not so nice. Avoiding J Log for the time being because of the non-auto exposure and plenty to think about already! I've been on cinema gamma but just read what you said about colours so moving to Rec 709, then when I'm happy I can replicate reliably a look I like I'll take on the J Log challenge. I used it to record a corporate event yesterday and the footage wasn't pretty, I'd got it on manual white balance as apparently that's more accurate than auto but with the projections next to the speaker casting various hues I wonder if I should have gone auto, lots to muck about with in grading. Anyway, my question I'm hoping you can answer is about the 108%. I've not come across this before, a bit basic sorry, and from what I read it's giving me whites beyond the accepted TV range. In practice I have footage that looks burnt out on my monitors, so I have to pull it back in grading - we're talking basic FCPX CC filter, I have color finale and film convert but seems irrelevant, would be nice of film convert did something for J Log. Anyway, so then I'm bringing down all my highlights, not just the rogue areas, and there is detail in there which is great, but I'm giving myself a duller overall look, so I push up the mids to compensate but it's still not quite 'there'. If I'm in a relatively even lighting situation it's all fine but anything with those big highlights just means I have to spend time fiddling. So am I in effect gaining anything overall? Presumably I am gaining some dynamic range and I just ought to figure out how to isolate just those highlights and bring them down after? Your thoughts would be very much appreciated as you seem to know very much what you're talking about! Thank you.

  • Oh, when I say auto exposure I'm just combining the manual ND wheel with the gain and shutter speed auto exposure as I don't want to vary my depth of field with the auto iris. Not sure if that's the best way to go, with the shutter speed unnerves me a bit.

  • @belfryman I'd actually recommend learning the LS300 with J-Log1 mode before tackling the ITU709 modes. While J-Log1 does require manual exposure and white balance settings, all other camera process controls are preset to a single standardized configuration, making J-Log1 the most foolproof way to shoot video on the LS300. Of course, J-Log1 footage will need grading in post, but even without a LUT, I've found it easy to color correct.

    IME, the LS300's ITU709 mode is primarily useful for cases where you want to use the footage directly from the camera without post-processing of any kind. Regardless of whether you shoot in ITU709 or J-Log1 modes, video files recorded by the LS300 are marked as using Rec 709 studio swing (16-235) levels. On a Rec 709 HDTV, highlights recorded at 100% exposure (level 235) will be displayed as 100% white. In ITU709 mode, you can optionally set the camera to clip at 108% exposure (255) instead of 100%. These superwhite levels will be clipped at 100% white on an HDTV, but can be fully recovered with a post-production video editor. In J-Log1 mode, superwhites are automatically recorded up to 108% exposure, and the histogram can be used to display the 100-108% exposure region in red.

  • @LPowell thanks again. I need to do a lot more reading! I'm just using J-Log now as it happens, the lack of DR in 709 was really bugging me.Also spotted your settings elsewhere and implement. I find the JVC lut a bit horrible so am adjusting freehand. I think I need to move to using resolve to be able to isolate spikes and bring them down rather than the top, bottom, middle of FCP.

  • I'm pleased to anounce the release of Leeming LUT One for the JVC GY-LS300 video camera. I collaborated with the developer of this LUT to produce a standardized solution for color correction of LS300 J-Log1 footage that provides a close match to comparably graded Panasonic GH4 footage. Full details here:

  • I collaborated with the developer of this LUT to produce a standardized solution for color correction of LS300 J-Log1 footage that provides a close match to comparably graded Panasonic GH4 footage

    Do you have measurable color tests?

  • Thinking about getting one later. Hope they will have another round of discounts.