![]() The GH4’s transition from exposed to over-exposed luminance in the sky leaves us with a very strange looking, rainbow shaped arc that is very noticeable – even to the untrained eye. The A7S II clearly has some banding issues in the sky, but the GH4’s banding is much more severe. The first and most obvious thing I noticed with this shot was the banding, which is particularly problematic in the GH4 footage. Let’s take a look at the first set of images below – With minimal time to do this test shoot, I decided to limit the test to only two main shots that would hopefully shed some light on each of the elements I was curious about. Going into this, there were a few key items that I was hoping to test – Dynamic range, highlight rolloff, and color accuracy. ND filters were used to compensate for differences in exposure between the GH4 and A7S II in certain instances. Whenever possible settings were kept the same (shutter speed, f-stop, etc.), and both cameras were shot using their native ISO’s to ensure maximum DR and image quality across the board. That said, even though the tests did have some uncontrolled variables, I do believe that the results are quite accurate and representative of what you can expect when shooting in Log on these two cameras in real world environment. ![]() For instance, different lenses were used on each camera which in itself means more than one variable is factoring into the resulting image. As is the case with most of my camera tests, these test shots were not “scientific” by any means. For the most part, I’ve had a very positive experience with S-Log 3 and have been very curious about how the GH4’s V-Log would stack up next to it.Ī couple of days ago, a friend and I shot some quick and dirty test shots with the GH4 and A7S II side by side, both shooting in Log mode to see what both cameras are really capable of. I have however, been shooting with the Sony A7S II almost exclusively in S-Log 3 since getting the camera, and naturally I started to get curious about V-Log again. Download the color grading package in your account to update to the latest version.Īs always, should you have any questions please contact us.As some of you know, I recently sold my Lumix GH4 and replaced it with a Sony A7S II.Unfortunately, I sold my GH4 before V-Log was released and as such never got a chance to try out Panasonic’s V-Log picture profile while I owned the camera. Update 3.0.2 is available for immediate download from My Account. From now on, you can simply download only the updated part of the package – in case of update 3.0.2, only the 3D LUTs file. There is no longer need to re-download the entire package every time we release an update. Utilities download includes DaVinci Resolve Power Grades (professional package only), Layer Comps files and LUTs gallery. 3D LUTs download includes all of the creative and monitoring LUTs included in your package. Here is a list of the updated 3D log conversion LUTs:Īlso, we now separate the downloads in the My Account section of our website to 3D LUTs and Utilities for more streamlined updates. In addition, update 3.0.2 converts 1D log conversion LUTs for gamma-only formats into 3D LUTs for compatibility with Adobe Premiere Pro and Wondershare Filmora (as these do not support the use of 1D LUTs) and updates 6 log conversion LUTs. ![]() ![]() These 17x17x17 creative monitoring LUTs are concatenated with the ‘Panasonic V-Gamut – Panasonic V-Log to Rec709’ log conversion LUT and as such require the use of Panasonic V-Gamut and Panasonic V-Log settings in camera. Update 3.0.2 enables Panasonic users to monitor in-camera using all of our LUTs. The focus of update 3.0.2 was introducing monitoring LUTs tailored for the V-Gamut and V-Log in a Panasonic-specific. We have released a minor 3.0.2 update for all color grading LUTs packages. ![]()
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