![]() ![]() ![]() Now, is that tradeoff of dynamic range versus color data worth it? ***That’s the real conversation I’d like to be having.*** Critiquing some intermediary step of viewing straight out of camera RAW or log video files is misunderstanding why one shoots in those formats in the first place. (Note: I do not use Adobe RGB at all, but if it has any benefits, it is when you use Adobe RGB colors as an intermediate step, before converting them to a final standard RGB output, the same way one must convert a logarithmic video before viewing it)Ī logarithmic video must have a basic conversion performed on it before it can be viewed. No one uses Adobe RGB for their final product, or you get results like in this article: Logarithmic mode is an INTERMEDIATE mode, the same way Adobe RGB is. It’s essentially a compressed file format intended for editing later. Stop! No! Never do that! It’s like if someone shot a photo in a different color space, like Adobe RGB, and then presented that image as-is. If people are actually recording logarithmic video and then releasing it unedited, WOW. The RAW file will only look better if you provide a white balance and exposure point (and then you can sharpen and further tweak from there if you want). It’s similar to how if you shoot still photos in RAW, and then just open them up in a viewer, they look much worse than a jpeg file would. Logarithmic video is essentially a compressed file format that is not meant for viewing. If one shoots a logarithmic video, one cannot view that video without first performing a color correction back to human vision (using a LookUp Table). ![]() Is the video saying that people are *publishing* low contrast unedited log video?!? The video seems to be critiquing flat or logarithmic video that has not been color corrected, or stretched back out to the natural tonal range. I’m not sure which of the two I prefer, as I am a still photographer who is very new to video and trying to learn about this.īut I disagreed with the first 5 minutes of the video. ![]() Logarithmic recording mode gives a greater dynamic range of light *at the expense* of color information. And I concur 100% with the info presented in the last minute of the video. I’m very open to the idea that shooting in logarithmic range mode may not be preferable to shooting with your camera’s optimized “normal” video mode. Tagged advice, android, c-log, cinelike, cinestyle, color correction, color grading, contrast, damage, davinci resolve, dslr, film look, filmic, filmic pro, final cut pro, flat, free, iOS, iPhone, log, log v2, low light, LUT, LUTs, noise, panasonic, premiere, s-log3, saturation, sharpness, snake oil, sony, spectre luts, tutorial, vegas, vx870, washed out Post navigation UPDATE: There’s a new video I put out that covers a lot of the same ground, but gets more technical and has more examples and information. I usually explain this in mathematical terms, but that can be hard to grasp, so this video serves as a short overview of the things that you should avoid in the realm of picture profiles and saturation/contrast settings.įor a lot more information about this subject, this article will satisfy most of your curiosities: YouTube video experts don’t understand why flat/log footage on 8-bit cameras is a bad idea Works within Adobe CC, Resolve, and FCPX (with a LUT utility installed.Shooting log, shooting flat, using LUTs, turning down the contrast…stop doing these things! Unless you have a 10-bit capable camera, shooting with log profiles like Cine-D, V-Log, C-Log, S-log, or Technicolor CineStyle will only damage your footage and limit what you can do with it in post-production. These LUTs can be used within any editig program that reads. You can find a link to a free installer here: FINAL CUT LUT INSTALLERĩ creative look LUTs and 1 utility LUT, specifically designed to look best with footage shot with the LOG Version 2 Color profile and up available with the FiLMiC Pro Cinematographer's Kit, but these will also work with Log Version 3 as well.įor best results apply the included Utility LUT as an initial color grade, and then choose a creative LUT to apply over top for a finishing touch. If you are using Final Cut, you will need a LUT installer.Works within Resolve / Adobe CC / FCPX (with LUT Utility installed).These LUTS can be used in any editing program that reads.These LUTS will also work with the new Version 2 and 3 of the Log and Flat Color profiles in FiLMiC Pro.Specifically designed for use with mobile phone footage.Works best with FLAT or LOG footage captured with FiLMiC Pro (also works with footage captured with the Moment Pro Camera App.).Included are 50 cinematic LUTs featuring every FiLMiC Pro Lut we've ever released, plus 11 brand new bonus LUTs!.This brand-new LUT bundle collects every LUT that we've ever created for use with the incredible FiLMiC Pro Camera app into one pack! ![]()
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |