I've found with my GH3 that the color of the video on the camera screen is perhaps just a bit warm, but not that much from what I'll see in Premiere-Pro. But I do use that screen to check primarily the "vertical" axis on the adjustment screen's "G-M" setting. Try to get the "A-B" set in manual WB mode to reasonable, then using the vertical "G-M" to balance between green/magenta ... my GH3 doesn't seem to pay attention to the "G-M" when setting a wb, and that's where I can get the nastiest hues to try to recover from.

Neil

@starios, I was thinking take first image with WB calibrated with your +2 contrast and +5 saturation, then adjusted to -5's to take the shot, vs. an image where WB was calibrated with camera already set to -5's. I'll run my own tests, but I guess I was assuming based on your previous post that you had already done side-by-side comparisons.

I have been shooting at all -5's, with the exception of keeping saturation at -2. But I also personally like keeping NR down - I prefer a little noise to emulate film grain, though I recognize that might not suit everyone's taste. I have certainly noticed a major reduction in moire, which was initially the most disappointing factor in my film-to-gh3-digital transition, by keeping sharpness dialed all the way down it is much less of an issue.

@larrysanders I don't know if it's common practice, I just tested it and it works for me. I can't think of a way to shoot an example for wb. One shot right wb and one wrong??? :) but maybe it could be a way to set wb in any camera, at least now I can get rid of the extremes (especially red at night) with more balance in one by one color intensity.

I think I found a way to setup white balance. Before wb set +2 contrast and +5 saturation and then, if I conclude correctly, the camera shows better the direction of color and the way it catch rgb. It is much easier to set the wb and the extra adjustment in, yellow, magenda... Then, you shoot as flat as you feel, everything -5 or whatever.

I wish Shian had stuck with working with the GH3 a little more so we could have a ColorGhear for it. I found his GH2 Green Kill ColorGhear perfect for correcting the GH2's green cast.

@wgtwo good question.. I worked with natural until a few days ago, but now i reconsidered the vivid profile (-3, -3, -1, 0)

I found the answer, but is a little bit frustating. It is a matter of light coming to the sensor, I deal with the flickering pushing up the iso,at 1600 iso flickering desapears, that increase noise but flicker or banding desapear. Was new fir me, because gh2 never saw this, and seems is something i need to get use. The monitor or lcd doesnt show ( getting use to it) me a good way to nail the exposure. Another dificult situation is when in super contrasty situation I need to preserve the lights then in darker zones flickering or banding come alive again. I need more test, with proper lighting interviews etc.. Exposure seems a lot harder than gh2, what do you think? The last shot I made was against a balcony, preserving the highlight exterior made a total mess of flicker interior. Only at 1600 iso at noise cost fix the problem,.That makes an unusable camera for me, at least for weddings and events. Is happening to you? I have time to send back the camera..

Any consensus on which colour profile is best? Standard? Natural?

The m8 b6 technique must be similar to using the minus green filter, just like here http://www.personal-view.com/talks/discussion/8113/speedbooster-gh2-with-cc30m-sensor-mod-fishing-trip-/p1

@yak my issue exactly. It seemed that all areas of face become one, like under the eyes losing contrast with the forehead for example. Where in reality under the eyes would be much darker to the forehead.

Yes, what I was trying to achive is that maybe I can go as flater as I can with all -5 without have plastic yellowish flesh tones when I get back everything in post trying to recovering information. And I achived by getting the right balance in kelvin ( but first doing one manual to see what was the right exactly ). Then I dial m8 b6 and memorize it in C1 or wherever memory I'm working. Watching my Oneshort card with the fleshtones and the other stuff in gh3 lcd and external monitor then I started push contrast, saturation up and down in several pictures estiles and never saw yellow in the fleshtone frame and the colour seems to be acurate with or without saturation or contrast up or down. So it leads me to think that as well ( I haven't had time to test it ) in post with curves or whatever method I can recover information without messing with plastic or yellowish flesh tones. Maybe it helps with that and we can shoot really flat, not just -3-3-3-0 to take care of midtones or flesh tone tinted in to recovery process. So, maybe flatering contrast is not the problem on flesh issues, maybe is white balance and maybe do this color correction inthe same camera helps to preserve good flesh tones. I think I can experiment more on this, but this fast test, tell it could be posible and m8 b6 can saves us some headaches

Hello everybody, I'm new with my gh3, coming from gh2 background. Yes, the ELF sucks!! Reading your posts about profiles I was very worried because I even didnt use it in a proper job. All the stuff about skin was scary! So I decided to made a short try and error. I took the Oneshot card, a grey card, a white, some black cloth, colour chart for photo with several colors, my gh3 an hdmi and a monitor calibrated wich have false color to on it. Well it was only a random and fast test. And maybe I'm totally wrong. I will do it again slowly and I will put all the footage in resolve and chack it all with scopes. But said that, I found that is nothing wrong with the profiles natural or standar it was a matter of whie balance, I tried severals up and down contrast sharpen etc and i found all were doing wrong things with the flesh tones, Specially going yellowish in caucasian frame when going up and down in contrast, sharpen etc...So, as with my gh2, I made a proper white balance ( the gray card and the white give the same result ) and then tried to match the same manually in the kelvin WB, but this time once it was more or less the same I dialed in kelvin color knob b6 and M8. In gh2 we used to go to magenta -2 -2 to get ride of green, but in gh3 this numbers work perfect to getgood skin tones, at least in my oneshotcard. All the yellowish disapier and dialing sharpen contrast etc didn't affect in colours tint. Please, try in real world and tell me. Actually very bussy. For me worked. I put all at -5 and then tried all 5 and the flesh and colour was recovered and without yellow in flesh. So, for me is more about proper balnce and get ride of the yellow in the flesh. All -5 and let everything for post. Hope it works and help! It was a too fast test and wanted to share the the pw users, sorry if I'm wrong.

@yak I agree, -5 is noisier in those samples, I believe it's because contrast applied before video compression so it leads mids to blacks, it is very interesting that -5 is noisier in those situations, but I usually try to do the opposite, leading mids to highlight because of my need for dynamic range, if you try this, and that's exactly what I tried to show in my test, you'll see the opposite effect. Both make sense, we just have to know what we are going to do in post before shooting. @Sph1nxster big difference in high isos, if light is extremely low in my opinion nr is needed