Crooked Path Blog

New “LOG” type flat gamma profile perfects for grading, with in-camera look-up-table.

After rigorous testing, the battle-hardened “CPF-LOG Picture Profile for the Sony NEX-FS100″ is ready for the public.  We have done quite a bit of research on what exactly each menu item in the picture profile settings do and what how we can manipulate them, to achieve the best desired looks after minimal and/or extensive color grading.

8-BIT AVCHD COMPRESSION

The Sony NEX-FS100 is an 8-bit camera that is compressed quite heavily.  Though a robust and very efficient codec, AVCHD video clips are not meant to be pushed very far in the grade.  The result could mean enhanced aliasing, moiré, “mosquito noise,” and other undesirable issues.   We found out early on that a dramatically flat picture profile is NOT the way to go.  But there IS a safe medium, and we believe we found it.

DESIGNED FOR COLOR GRADING

The CPF-LOG profile is designed to maintain highlight and shadow detail and also a pleasing color gamut that grades very nicely whether you do alot of grading or a quick fast-color correction.  This profile is created as a part of a workflow that is setup for color grading in post.  IF YOU DO NOT INTEND ON COLOR GRADING IN POST, THIS PROFILE IS NOT FOR YOU.  In the very least, it is recommended that you correct the black and white levels, pull the middle grey down to around 35-40%, and adjust saturation to taste.

IN-CAMERA LOOK-UP-TABLE

One of the biggest and most unique features of the CPF-LOG Profile we wanted to include is a LUT (Look-Up-Table) that can be used in tandem with each other on the set.  A LUT is designed to give the camera operator or any other viewer on set the ability to see a preview image of the video with a filmlike gamma curve and color setting applied.  A LUT is NOT intended for actual grading.  Even if you wanted to, applying a LUT to footage as a final grade defeats the whole purpose of shooting a LOG image and color grading in the first place.  A LUT can also be use to apply to dailies and other temporary files.  We do not currently have a LUT to apply to clips outside the camera, but hope to have something you could apply on the fly for dailies or editing proxies.   <UPDATE: LUT FOR PREMIERE/PC USERS, (Lut Buddy not needed)>

WORKFLOW

First, you want switch the camera profile to the CPF-LOG IN-CAM LUT.  This is what you use to light your scene, expose your shot, set your ISO, set your color temperature, and any other settings.  It’s important NOT to adjust any of the profile settings, as they BOTH designed to match perfectly.  An adjustment to the LUT and not the LOG profile will result in improper exposures and/or color.  You should also switch to the LUT when showing clients and other crew members (like makeup) so they can see a more accurate color/contrast rendition of the scene.  It’s also a good idea to switch back and forth to the LOG profile because it will show any possible details you may have missed…but you DO NOT want to use the log profile to adjust exposures/lighting, etc.  It is also recommended you set your ZEBRAS to 100% and if you see them show up on highlights, stop down/adjust ISO or shutter until they are almost about to disappear.  When you switch to the LOG profile the highlights will be exposed properly and have enough information for grading.  You will also notice the shadows get brighter when you switch to the LOG profile.  Resist the temptation to stop down!  If the shadows look good with the LUT, then trust that the colorist will have the necessary information to play with them.  If you stop down or otherwise adjust exposure when looking at the LOG profile…you WILL end up under exposing the shot.  Trust in the LUT.  Expose to the LUT.  Record to LOG.  These are the rules to live by when using these profiles.

After you have set your exposures, run rehearsals, and other adjustments switch over to the CPF-LOG Profile before rolling the camera.  Don’t forget to switch over!  Tell your support crew to remind you to switch over just in case.  Also don’t send us angry emails because you got in trouble by recording takes using the LUT.  Believe us, we wish there was a way to force-record to a dedicated profile.  After awhile you’ll probably find yourself switching over to the LUT periodically to check exposure and lighting, then switching right back to the CPF-LOG just to be safe.  That’s what we do and it works fine.

WHY YOU DON’T WANT TO SHOOT SUPER-DUPER FLAT IN 8-BIT AND GRADE IN POST:  vimeo.com/23067790

DOWNLOAD A PDF VERSION OF THE CPF-LOG PROFILES

THESE PROFILES AND WORKFLOW TECHNIQUE TUTORIAL IS FREE.  IF YOU FIND THIS INFORMATION USEFUL, PLEASE JOIN OUR FACEBOOK PAGE FOR MORE DIGITAL CINEMA TIPS/TRICKS!

*Use profiles at your own risk.  Your mileage may vary.  Please test the workflow and profiles before implementing.

I’ve had a chance to test out the new Technicolor CineStyle in depth and wanted to share my final thoughts.  Overall this THE best attempt to create a LOG-C curve (or “Flat” profile).  The folks at Technicolor mentioned at NAB that this profile was created to best suit THEIR post color grading workflow…which is the best in the world.  For the rest of us…there just isn’t getting past that dang highly compressed 8bit H264 codec.  The compression just cannot handle any sort of grading that pushes the image too far from the recorded or “baked in” image.  Like a Picasso hidden underneath a finger painting…the Technicolor CineStyle is a dream curve trapped within a codec that just doesn’t do it justice.

Neutral, Contrast Added in Post

1. It seems there is a gamma shift upwards with the Cinestyle.  Brings up shadow detail but at slight expense of the highlights.  I find I have to ignore scopes and light meters and drop down exposure a stop to get the best out of this profile (and to match it to the other stock profiles).  You shouldn’t have to do this, because what you are gaining in gamma you are losing in exposure…which is a bad trade off.
2.  There is definately more shadow detail.  For those who don’t crush blacks in post then that’s great.  For me, I usually crush blacks in post and keep (or sometimes lower) highlights.  The CineStyle is too far away from crushed blacks…so when it’s crushed in post, the noise and artifacts are enhanced.  I would have liked to see more highlight detail in this picture style instead.  This profile makes images more prone to clipping.
3.  If you find you are having to radically adjust grading in post to get your desired look, then the less the

   

   Cinestyle, Contrast Added in Post

   compressed 8bit codec can handle it. That’s a great rule of thumb.  This isn’t a RAW codec that can be pushed all over the place.  The pictures on the right show obvious breakdowns in adding contrast to flattened images.  It is best to use a picture style that is closest to your final look but with some headroom to play with.  The areas you’ll see this breakdown is in smooth gradients like the sky or a wall, so extra caution is suggested in these circumstances.  For the old film guys…treat this like reversal film stock and try to get it close in camera.
4. To leave on a positive note…midtones and skintones look fantastic.  Better than most other profiles out there, in my opinion.

Here’s a quick test I did with the new profile, comparing to stock profiles and “super flat” profiles and how it all holds up to color grading.   You can get the profile here: http://www.technicolor.com/en/hi/cinema/filmmaking/digital-printer-lights/cinestyle

Just a note, I’ll be doing a three part video tutorial on color grading that starts with shooting for post and optimizing workflow for color.  Will be out this summer!

I know there are a lot of questions about the Technicolor Picture Profile for Canon cameras, and I got a good explanation today at the Canon/Technicolor booth.

The Technicolor Cine Style is a profile created by Technicolor to gain the most latitude for post grading. The picture style is uploaded into the any Canon DSLR via the Canon EOS software just like any other profile.

Many of us have used the Picture Style Editor to create a flat style, such as myself with my Crooked Path Flat. Doing this actually adds a “curve on a curve” and does so within the severe limitations of the Canon Picture Style Editor. We have seen the harsh falloffs of highlights and the weird muddy effect on faces/skin tones that these flat profiles create. But we also see the benefits of color grading on On flat styles too.

The Technicolor style is a very special edit of the native H264 gamma to a LOG color space rather than the standard REC709. What does this mean? Will it be a great improvement for color grading versus the flat picture styles created with Picture Style Editor? Great question! It still records to H264, so the 8bit 4:2:0 compression is what you will still be coloring. There WILL be limitations, but overall this is pretty exciting to me. Ill do some testing comparing to my Crooked Path Flat and the neutral profile and post results.

The Technicolor picture style is completely FREE and available April 30th from this page: www.technicolor.com/CineStyle

Here’s the brochure they are handing out at NAB:

Shane Hurlbut offers some great preshoot tips to HDSLR shooters. Very good advice…and I thought I would add a few more points, more specific to those shooting with one camera and limited crew and time.

1) Overheating. This is an issue, as these cameras aren’t made to constantly shoot video for full days. Shane mentions that swapping two cameras halfway through the day is the best way to go, and he is right. However if you have only one camera, then make sure you turn it off every chance you get. If time does not allow for this, then switch from live mode to standard hereby turning the LCD off. My testing shows that five to ten minutes turned off is all you need and is equal to switching a camera out.

2) Logging. Using tape to label cards is a little old fashioned in my opinion…why not just rename the folders on the cf card?  Even though it is great to have a media wrangler or even time to offload the cards, sometimes it isn’t possible. What I do is start new folders via the camera’s menus after completing specific script points like scenes or when switching locations. Then, pop it into a laptop and rename the folder(s) to match what you shot and the camera you shot it on.  If you have time, always offload the cards for backup purposes. I do so at lunch and then at the end of the day. Makes data management in post very easy!

3) Dead Pixels. This means your camera needs repair. This is different than “hot” pixels. A dead pixel is usually an obvious colored (typically red but could also be blue or green) dot somewhere on the resulting footage. What you should do is record a couple seconds with the lens cap on, then review on a monitor or computer screen to see if you need to send in your camera. To allow for repair time, do this again at the end of your shoot too.

4) Hot Pixels. As your sensor gets hot, the pixels may start malfunctioning. Also a dirty sensor could give you this too. You will see dots similar to what you see when the sensor has dead pixels, only these dots will be white. Make sure you are periodically shooting all black for a few seconds and reviewing on a larger monitor. If you see white dots, let the camera cool down for five to ten minutes. If this doesn’t work, clean your sensor using proper cleaning methods. (never blow into your camera or use cloths to wipe your sensor!)

5) Also Check the Following Settings:

• Peripheral Illumination turned OFF
• Video settings are correct (framerates, resolution)
• Set the ISO (never higher than 1250!)
• Set the proper color temperature (white balance)
• Select your desired picture style
• Turn on highlight tone priority (adds a shoulder to your highlights)
• Disable High ISO Noise Reduction (otherwise the resolution is compromised)

Here is Shane’s video. More info at Shane’s blog.

Hurlbut Visuals Camera Protocol from Shane Hurlbut, ASC on Vimeo.

If I have learned anything in the software-based world of video editing…it’s that achieving the look you want in your productions don’t have to be done purely by art direction, lighting, and in-camera settings.  There’s a whole new world to “painting” the picture…or should I say whole new “paintbrush” to use as it’s another tool that even Hollywood is using more and more in the big budget studio movies.  I’m not discounting the need for great lighting at all, so don’t misunderstand.  Nor do I think it’s always necessary as a general rule to never alter the image within your camera.  But these 3 primary areas coupled with art direction (the colors in the scene being photographed; like the set decor and actors’ wardrobe colors) are all necessary to work together to bring about the best desired color profile.

When I say color profile…I’m referring to the overall color gamut of your scene or movie or whatever you’re making.  This is important to decide upon before pre-production.  If you look at some Hollywood big-budget movies you can see that the color profile is no accident.  There is a general reference colors that compliment each other that Art Directors, Cinematographers, and Colorists use to get these profiles.  The Art Director, or anyone doing the art direction (like myself and many other filmmakers who must conform to low budgets and play 20 different crew members at once), must know which profiles are desired and make sure the actors’ wardrobe and set decoration matches said profile.  The Cinematographer (again usually me) must light the scene to match said profile and usually setup the camera (if digital) to achieve the desired results.  After editing, the Colorist will scrutinize every part of every frame to further adhere to the color profile.

NOTE: In digital cinema or video, the camera should always have the flattest curve with no in-camera alterations of color, contrast, etc if color grading will be done in post production.  I would even add, if you have the means, some scopes to the camera that allows you to see the threshold of the exposure and RGB profiles.  (Many cameras have this capability built-in) I can’t stress this enough!  Leaving the camera with the flattest image might not look all that great right out of the camera, but it records the MOST INFORMATION to the camera for best lattitude in post grading and giving you the most options to choose from when the color grading process starts.  Otherwise, for example, if you choose to alter the camera settings to crush the blacks or over-saturate the colors…you will NOT be able to brighten up those shadows or decrease the over-saturation in post and make it look decent.

EXAMPLES OF COLOR GRADING WORK:

Here’s a fantastic tool that I use that’s free to use from Adobe called “KULER:” http://kuler.adobe.com/#themes/rating?time=30 This will allow you to play with the colors you want in the film, and will show you 4 other colors that are acceptable to accompany them.  As you adjust one of the 5 total colors, the others will adjust accordingly.  Here’s a screengrab of a shot in Transformers that shows a certain color profile, again not an accident:

After playing a bit with Kuler, I came up with this profile as best I could…

You’ll notice that the color in the shadows are sort of green and the skin tones are sort of pinkish-orange.  You can see this color profile throughout the entire film.  Again…not an accident.

There are many many options for color grading software available.  The big-boys in Hollywood use the “DaVinci” system which does coloring in “real time” (allowing you to color while playing the footage without rendering) but doesn’t have nearly the options you have in software-based systems like Apple Color or the array of programs from Red Giant like Magic Bullet Looks (my preference).  Here’s a great tutorial by one of my favorite cinematographers, Phillip Bloom, on using Magic Bullet Looks: