For last month you are talking with yourself. :-)

If it is not considered advertising, I now have lens kits prepared for filming in Project Blue Light.

A lens kit consists of Minolta MD Rokkor 45 mm f2 with Unflare MD-to-m43 adapter plus Tiffen CC30M magenta filter. I have adjusted the focus so that the UV filter installed in the Unflare adapter is accounted for. The adjustment range on the focus ring was not quite enough, so closest focusing distance is now 63.5 cm (60 cm on the focus ring). Infinity is no problem.

Only Follow Focus and a good hood is needed and there is quite the cinematic lens setup that delivers good images in low light at f2. I am investigating other lenses, especially MD 24 and 28 f2.8 if they could be similarly adjusted for Unflare adapter. MD 24 is getting quite pricey, though.

"Bryce Bayer's patent (U.S. Patent No. 3,971,065) in 1976 called the green photosensors luminance-sensitive elements and the red and blue ones chrominance-sensitive elements. He used twice as many green elements as red or blue to mimic the physiology of the human eye."

http://en.wikipedia.org/wiki/Bayer_filter

I did not write that. If you consider that spreading misinformation, please direct your concerns to wikipedia.

Says in the first paragraph of the wiki article: "The filter pattern is 50% green, 25% red and 25% blue, hence is also called RGBG,[1][2] GRGB,[3] or RGGB." 50:25:25 is exactly 4:2:2, as stated by myself and quoted by you.

Also, if you look at the concept image provided in the wiki article, it clearly illustrates Y, C1, C2, of which Y has twice the density of the individual color channels. So you are wrong and there is inherent bias for luminance built in the sensor desing, and the video encoding adds another layer of luminance bias. It would be the equivalent of having a black and white film and then half of the color information encoded and half of that information discarded (4:2:2 -> 4:2:0).

Color film does not work like that, there is no bias for luminance whatsoever. For color film luminance as a separate component does not exist. This is the main difference between color film and video.

So far all the images I have posted are from GH1, so quality is not yet ideal. I am already using these methods and equipment for production and continue accumulating knowledge on the side as time and resources permit. Needless to mention the filters stay on the lenses.

If one wanted to start with small steps, CC20M will start adding chroma and lifting shadows, but is not overhwhelmingly magenta. You will notice it, but the material does not look exaggerated.

Allow me the provide one more sample to illustrate what I meant when I said that the grading starts in the camera on location. Attached is the images with the left ungraded version showing the info display. Once again I white balanced the camera using yellow filter (opposite of blue), then removed the yellow filter and attached CC30M magenta filter.

From the info display we could see that the contrast range is divided into four segments. Leftmost segment are the darkest values and rightmost for the brightest. The point is that these segments are not equal, but the segments to the right have progressively more latitude (more possible values). Hence if we wanted to have really good blue or yellow hues, it would be good idea to try to spread the blue channel values over the whole range. Now the blue - yellow slider in editing program works really well and I could get nice blooming yellow high-lights and cleaner bluish midtones or shadows, for example.

If I balanced for neutral image then the encoder will not see that as over-saturation for the blue - yellow channel and starts dropping chroma bits leading to macro blocking blue and yellow hues. Blue channel appears to be the weakest in GH1. This was a high contrast scene lit only by daylight and it was not possible to lift the shadows this time for a clean result.

That is no longer the colorist responsibility, but the lighting would have to be adjusted on location to add fill light for more shadow detail and flatter contrast.

Creative Color pre effects for dramatical effects of clouds and metal & glass reflection Using color polarisers brand Cokin. I refitted in 62mm pol filter mount rings (removed the original glass) choosed creative color GH2 - settings retro silhouet pure & others Cokin manufactured 5 color polarisers from #171 and on. Purple-Orange Green -Red Lime – Yellow - Red Sometimes I use one or even two at the same time, turning each one induvidually. Love the purple orange filter for nice clouds & sky Filmed in Sedna 5.1

@shian I'm super tired of the foliage shots, but the purple filter really makes the leaves look good. Just shooting with the filter and no WB adjustments then turning the green slider up in the NLE really makes the green pop. Some people/skin tone tests would be what's really needed to see how usable this technique could be in a pro setting though.

Thanks for investigating @shian Very interested in your color chart experiments. Just the other day I installed a modified Kodak CC30M filter between my sensor and lens and so far I'm really enjoying the results with my FD set and custom WBs, but am also curious as to what is really going on!