For example, if I were to shot the same scene with the two cameras, both using V-log and otherwise identical settings, would the resulting video be more or less the same?

Could I use the same LUTs on the footage? Or does GH5 V-log footage require different LUTs than those of the GH4?

Obviously, my question's about matching the color grades. I can't see to find a set of settings or a LUT that would take my GH4 footage and conform it to the standard Panasonic curves in any consistent way. The LUTs that are closest-- the standard Vlog to v35, Balazar's luts-- have two faults: they're a bit greyish in the low end, and they're actually kind of dim, so I have to adjust the floor and boost the low-to-midranges.

Seems to me that there ought to be a LUT that accurately brings the Vlog footage to something very close to Standard. Any suggestions?

Not sure if anyone else has encountered this, I've done a quick search and come up with nothin...

I've been using the atomos assassin with my GH4, and noticed that the footage from the assassin is slightly more contrasty/darker than footage recorded internally. I assume it's something the GH4 is doing, because it only seems to happen with V-LOG, not with standard. (I couldn't really be bothered checking with all the other colour modes...)

Here's a clip of me A/B-ing it on a premiere timeline with the scopes up. V-LOG, then standard. https://www.dropbox.com/s/hiugamp6hfbved4/gh4-assassin-contrast-level.mp4?dl=0

(obviously I don't own a colour chart, a set of pencils was the bet I could manage...)

This was recorded 8-bit, as it was the only way I could record both at the same time, but it happens with 10-bit too. At 4K as well as HD. Both the assassin and GH4 are running the most up-to-date firmware, as of Jan 2017.

Did I mess with some settings somewhere? Is my camera haunted? Is this something other people have noticed?

It doesn't actually bother me that much, I guess this is just a "what's up with that?" kinda question. So yeah. What's up with that?

your opinion?

• V-Log video material, applying the inverse transformation on the fly, as well as tone-mapping and color-space conversion.
  This allows you to review video clips as recorded e.g. by a GH4R directly, without having to go through a lengthy "video editor software import / rendering cycle".
  For example, to replay this sample V-Log video file posted by a forum member earlier, you could use an mpv command line like this:

  mpv --vf=format=gamma=v-log:colorlevels=full:primaries=v-gamut -vo opengl-hq:hdr-tone-mapping=clip SHOGUN_S001_S001_T008b.mov

... to obtain a video display like this:

• HDR (SMPTE-ST-2084) video, as used (along with BT.2020) on UHD BluRay discs and generated by the latest PC and game console GPUs (see here for sample files).
  As with V-Log, both the electro-optical transfer function and colorspace conversions are done on the fly, and tone-mapping helps to display the content well also on non-HDR-capable displays. Unlike V-Log, which is not detectable automatically whether being used in a video file, HDR content is detected automatically by mpv, and reasonable default parameters chosen for the transformation.

Please notice that both HDR and V-Log display transformation support are implemented in the OpenGL video output module of mpv, which is the default to use on Linux/Windows/Mac. If you use another video output module, these on-the-fly transformation features are not available.

See here for mpv binaries for different platforms.

Very Lightly used camera & with great care. Cost of V-LOG is €100 & you understand how important it is the unlimited continuous recording... As long as your SD-card has space, this beast will shoot for hours without any stop! Including in the sale: all original packaging/accessories, PLUS 2 more extra batteries ("DSTE", same like the original ones), & a brand new never used half/cage-cable protector, so to protect your HDMI etc. cables when connect camera with external devices. Price €1200 total, including any PayPal fees & the shipping (from France).

Also selling:

• a like new 12-35mm f/2.8 Lumix lens (€650 shipped),

• a brand new never used Metabones Speed-Booster T Ultra 0.71x (€699 shipped).

Thanks a lot!

I'm selling my 2nd camera - Its the latest GH4R model which comes with V-LOG L, and unlimited recording preinstalled - helpful for us in the EU!!

The item comes in the original packaging with a battery, charger, AV cables and all manuals in the original box AS NEW. This camera was only used on one project as I needed two cameras, but I no longer need both so I'm selling this one. The camera was purchased in Nov 2015 so has 8 months left on its warranty.

I'm keeping my other GH4 for sure (I love it! and use it all the time), but no longer need two cameras.

£879 via paypal, +£15 postage to the UK. Can discuss Euro price if needed.

This is what I think is going on. V-log delivers a very flat image, where the darkest elements are greyish, and the lightest elements are bright, but not completely blown out. This enables color graders to "stretch" those values, and thus, have some play with the midrange gamma. But doesn't this mean that the color palette leaves out a lot of value?

I don't mean that it leaves out the highs and lows. It seems to me that if you take a narrow range of luminance, and scale it to a larger range, you don't get pixels with in-between values. Say I have a photo with luminance ranges from 0 to 100, and I scale that to 0-200. Thus, each luminance value would be doubled: 1 becomes 2, 3 becomes 6, 42 becomes 82, etc.) There'd be no real increase in the range of luminances. And in some circumstances, you'd get banding if the jump is too big.

And if this is the case., then why compress the luminances into such a narrow range? Why not scale it to the camera's full luminance range, and preserve as much of the "in -between" luminances as possible? If your camera has a range of, say, 1-1000, then why reduce the image to 300-700?

As I said, I don't think I'm understanding this correctly. Anyone got a good FAQ?

Specs:
-S35MM 4096 X 2160 Advanced MOS Imager
-14+ Stops of Latitude
-Variable Frame Rate — 1 to 120 fps in 4K(VRAW)
-Records simultaneous 4K/ 2K/Proxy, or UHD/HD/Proxy + Raw to Codex (option)
-Apple ProRes 4:4:4:4 and ProRes HQ Built-in
-AVC-Intra Codecs -- Class 100 / Class 200 / Class 4:4:4
-2-piece Modular Design (docks to AU-VREC1G recording module)
-Dual-Native ISOs

Retails at, $55,000

Brochure: ftp://ftp.panasonic.com/provideo/varicam_35/varicam-35_brochure.pdf
Manual: ftp://ftp.panasonic.com/provideo/varicam_35/varicam-35_oi.pdf

Video Series on the camera:
Part 1, Overview: