![]() The GH4 tends to be a bit too saturated and punchy for my taste, and skin tones often look flat and green-ish. Don’t get me wrong, you can certainly capture beautiful images on both cameras and color grade them to look really great… But right off of the camera, using nothing more than a LUT on the Log footage, neither camera delivers perfect results in the color department. What this test also revealed to me though, was the fact that neither camera produces great colors in Log mode. This was of course no surprise as the A7S II sensor can supposedly capture 2 more stops of DR than the GH4, which tops out at about 12 stops. ![]() The difference is somewhat apparent in the images above, but much more obvious when actually working with the footage in Resolve. ![]() But when I used Resolve to reduce the highlights and adjust the contrast of each image, the A7S II footage clearly had more information in the highlights, while the GH4 had clipped completely. When I first applied the LUTs to each shot, they didn’t look all that different – in particular the window in the background was blown out on both shots. The idea with this shot was to capture a high dynamic range situation that would show the differences in latitude between the two cameras, and in this department the A7S II once again came out on top. Now, take a look at the second set of images below – Granted, both of these cameras would likely perform better if they were recorded to a higher quality codec (such as ProRes) using an external recorder… But I would guess the GH4 would still have less organic highlight rolloff, even if the banding is not as severe. 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. 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.
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