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Panasonic GH5 - all is revealed!


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37 minutes ago, jonpais said:

Practically every single serious filmmaking site scoffs at AWB and strongly encourages manually white balancing. But it takes me as long as a minute to manually white balance a shot, and even then, after all my efforts, my colors are still off. I'm wondering now whether it might not be a better use of my time to simply shoot using AWB and include a couple seconds at the beginning of my clips holding the ColorChecker, then let the software work its magic in FCP, rather than getting my panties all in a bunch. What do you think?

I think Andrew has said in his own lut material that AWB on the panasonics is good. And not so much for Sony. Last piccy is rully rully nice

28 minutes ago, fuzzynormal said:

Better, I think, to turn to a set collection of "kelvins" to use.

3200, 5600, something a little cooler, something a little warmer.

AWB will drift and adjust as a shot changes.  

The normal practise for Sony cameras I'm afraid. 

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Here are some 1080 JPEGS from a music video that I shot with the GH5 + SLR Magic anamorphic primes.  

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1 hour ago, jonpais said:

Right, that's one reason I don't use AWB - the color will change even when you don't notice the light changing at all. Perhaps one of the presets? Cloudy, shady, sunny?

Was just wondering what it would look like white balanced straight off the card from the first cineD pic.

jon2.jpg

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Just now, Orangenz said:

Was just wondering what it would look like white balanced straight off the card from the first cineD pic.

jon2.jpg

I'm working on another vlog at the moment, comparing the results of using the camera's presets, custom white balance (white balancing straight off the card using the camera's auto feature) and manually white balancing, among a bunch of other related and unrelated stuff as per usual. ?

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1 minute ago, jonpais said:

I'm working on another vlog at the moment, comparing the results of using the camera's presets, custom white balance (white balancing straight off the card using the camera's auto feature) and manually white balancing, among a bunch of other related and unrelated stuff as per usual. ?

I can just see you walking around ripping your dark shirt open every so often to white balance off the white one. Hmmm, that guy.

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6 minutes ago, Orangenz said:

I can just see you walking around ripping your dark shirt open every so often to white balance off the white one. Hmmm, that guy.

How did you know I do just that? In fact, I reduce exposure just until the zebras disappear from my T-shirt at 100%.

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18 minutes ago, Orangenz said:

60% Vision 6 for this. Winter morning rugby. AWD is probably easier with less crazy colours around outside. 

_GH50355b.jpg

This is the first picture, white balance to card, then leeming cineD lut added. It brightens it a lot. Wonder what the colour checker thing would do now. 

jon_wb_leeming.jpg

You must be psychotic. ? Because my very next test was going to be to try out some combination of the two.

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2 hours ago, Orangenz said:

This is the first picture, white balance to card, then leeming cineD lut added. It brightens it a lot. Wonder what the colour checker thing would do now. 

jon_wb_leeming.jpg

I just imported the pic to FCP when I realized this shot's got a reflection in the black square, so the color match feature won't work. :( 

2 hours ago, mercer said:

Haha, not a bad idea. You could probably just use the picker tool in Color Finale Pro on your white t-shirt and get a pretty accurate balance.

@Orangenz The second shot is using the highlight picker in Color Finale, the first is with the Leeming LUT applied on top of that.

Screen Shot 2017-05-27 at 10.23.20 PM.png

Screen Shot 2017-05-27 at 10.21.44 PM.png

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And this is using the highlight picker, then adding the Leeming LUT, then using the color match feature.

Edit: I just realized I put the LUT in an adjustment layer, so maybe the order of operations is not like I described. :( 

Screen Shot 2017-05-27 at 10.35.30 PM.png

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18 minutes ago, Orangenz said:

So when do you white balance to the white panel on the left? Isn't that first? 

First, I dragged Color Finale onto the clip, then I used the highlight picker to white balance. Next, I threw an adjustment layer above the clip, dragged LUT utility over the layer and selected Leeming LUT.  Lastly, I used the color match feature in Color Finale on the clip. Because of the adjustment layer, I believe the Leeming LUT would register as the last step in the operation, so the result most likely is not what we were looking for.

For this one, I dragged Color Finale onto the clip and used the white picker, then I put an adjustment layer above the clip and added the Leeming LUT, and finally, I put another adjustment layer above that and used color match.

Screen Shot 2017-05-27 at 11.11.53 PM.png

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5 hours ago, jonpais said:

Practically every single serious filmmaking site scoffs at AWB and strongly encourages manually white balancing. But it takes me as long as a minute to manually white balance a shot, and even then, after all my efforts, my colors are still off.

Yeah, I have noticed that too, whitebalancing on grey card often gives a clearly inaccurate result. I found out the translucent lens cap is working better for this but most often I'll just dial it in. Haven't played around with the new AWBc yet, which is supposedly suppressing the prevalent reddish tones under certain conditions.

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2 minutes ago, zetty said:

Yeah, I have noticed that too, whitebalancing on grey card often gives a clearly inaccurate result. I found out the translucent lens cap is working better for this but most often I'll just dial it in. Haven't played around with the new AWBc yet, which is supposedly suppressing the prevalent reddish tones under certain conditions.

 I think if you gave ten people a grey card and asked them to WB, each would get a different result. :) I was going to test this out with a friend over the weekend, since I'm a curious kind of fellow.

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23 hours ago, jonpais said:

 I think if you gave ten people a grey card and asked them to WB, each would get a different result. :) I was going to test this out with a friend over the weekend, since I'm a curious kind of fellow.

Can't you just use a preset WB, film the grey card at the beginning of your take and then use the picker tool in Color Finale Pro to give you middle grey... or 18% grey... whichever it is?

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15 minutes ago, mercer said:

Can't you just use a preset WB, film the grey card at the beginning of your take and then use the picker tool in Color Finale Pro to give you middle grey... or 18% grey... whichever it is?

Yes, I'm still just playing around with my new toys. I only got the Color Checker, what, last week, and I just purchased Color Finale. If you've got some bright whites and deep blacks in the scene, or using the card, you can quickly get to a great starting point using the picker tools. So, whether you use one of the camera's presets or white balance manually, I guess it's not so big a deal as I once thought. Probably best to get it as close as possible to begin with just so you're not pushing the pixels around too much? Not really sure about that either. Another reason to try to get as close to the correct color as possible in camera is so your shots match more closely from clip to clip.

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If you're in a mixed lighting situation, the position and angle of the grey card will have a huge impact on the result of a custom WB, depending on what percentage of each light source it reflects. 

If you're shooting under one kind of light only, the custom WB should be the same every time, unles you're getting a lot of reflected light from a coloured object on the card.

If I'm shooting outdoors I'll happily use a WB preset like daylight or cloudy. Or if I want a warmer or cooler look I'll dial in the Kelvin. Indoors I'll always try to do a custom WB because who knows what colour contemporary light bulbs are - there's a crazy range of spectrums in different products these days.

Either way, I will tweak the temperature and tint of nearly all shots I use. Not because I want to neutralise the colour of the light or mixture of lights, but because I want to fine tune the colour relationship of the objects in the scene. I fiddle with the sliders from too blue to too orange and back again, looking for the sweet spot. Then I do the same for green and magenta. But the next clip, shot in the same location from a slightly different angle, might need a tweak of both sliders to match the previous.

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