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jonpais

Say Your Goodbyes to V-Log Lite and Cinelike D

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6 hours ago, jonpais said:

Horrid footage, spreading misinformation about HLG. 

 

Yep, 
Sage and me are figuring out further limitations of the HLG preset, but limited DR and color space are definitely nonsense.

One issue is that Oranges and Reds are very close to each other and hard to separate, another one is strong noise reduction of shadows and lower midtones (but there are workarounds)

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50 minutes ago, mercer said:

One of your best GH5 frames to date with this model.

To be honest though, I am not completely sold on HLG over vLog or CineLikeD. If you ever have the time or inclination, I think a comparison test could be an interesting video. I would only ask that you keep the Leeming LUT out of the equation, or at least offer the ungraded clips for download.

Btw, are you still exploring anamorphic? And can anamorphic be shot in HLG or CineLikeD, or do you have to use vLog?

@mercer Thanks! To the best of my knowledge, you can also shoot HLG in anamorphic. If I can get my hands on the 40mm Atlas, I'll probably end up buying that one. I'm no longer interested in adapting vintage projector lenses.

 

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@jonpais Sorry, I’m not really up on the quality of the 6K anamorphic mode but it is one of the interesting aspects of the GH5 for me... So are there any aliasing or moire issues in 6K open gate, or whatever it’s called?

I’ve noticed, with other cameras, sometimes the softer aspect of some vintage lenses can alleviate aliasing a little, so that may be something to think about when choosing an anamorphic lens.

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2 hours ago, webrunner5 said:

Yeah that Christmas tree scan about 3/4 ways in proves he doesn't know his ass from a hole in the ground about that shot.

Check this video where at 8 mins or so, he says HLG has 16 stops of Dynamic Range, and something else has like 26 stops. 

He's just Different. 

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@sanveer CRFTSHO talks as if war’s gonna break out between HLG and PQ, which is absolute nonsense. Unlike Blu ray and HDD, the two can peacefully coexist: the former is primarily for broadcast and is significant because it is somewhat backwards compatible. Because let’s face it, it’s going to be years before everyone’s got HDR in their living room - they’ll probably have it on their tablet first! And television sets automatically switch between the different formats. So it is not at all like Beta vs. VHS or anything.

Anyhow, that’s neither here nor there, since this thread is not about HDR, but about taking advantage of HLG for SDR delivery. Paul Leeming has made it clear for some time that he doesn’t have a Mac and relies on users for feedback to help make his LUT work optimally in Final Cut Pro. A forum member over at DVXuser made a video comparing how Nick Driftwood’s LUT and the Leeming LUT work in FCP X 10.4.

I believe the premise of the video, that the curve is responsible for the crushed blacks in Final Cut Pro, is mistaken. The problem has to do with the data levels within the app, and afaik, there’s no way to change them in FCP. A more thorough discussion can be found over at DVXuser. Meanwhile, much as I dislike having to do so, I think I’ll be switching over to Resolve.

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Folks, CineLike D has a lot of reserve in its favor. Certainly more than enough for most of us (particularly for those that use 8 bit codecs). The people from slashcam.de once wrote that one should develop a specific lut to take full advantage of this setting. This is specially true when you use the best settings to retain information in highlight and shadows. When you do this you certainly get more information from most m4/3 Lumix cameras, but you also get quite strange red and orange colors as a "bonus". I developed a lut to correct these colors and I am pretty satisfied with. By the way, Rudi Schmidts (slashcam.de) seemed quite impressed with the dynamic range of the HLG function in a recent review. Meanwhile, I will continue using my G85. Please, see a short video made during a nice trip to Portugal (all settings are informed in the description on Vimeo).

 

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5 hours ago, Souto said:

Folks, CineLike D has a lot of reserve in its favor. Certainly more than enough for most of us (particularly for those that use 8 bit codecs). The people from slashcam.de once wrote that one should develop a specific lut to take full advantage of this setting. This is specially true when you use the best settings to retain information in highlight and shadows. When you do this you certainly get more information from most m4/3 Lumix cameras, but you also get quite strange red and orange colors as a "bonus". I developed a lut to correct these colors and I am pretty satisfied with. By the way, Rudi Schmidts (slashcam.de) seemed quite impressed with the dynamic range of the HLG function in a recent review. Meanwhile, I will continue using my G85. Please, see a short video made during a nice trip to Portugal (all settings are informed in the description on Vimeo).

 

Are you selling those luts?

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Major development! Paul Leeming has just issued two new ‘Fixie LUTs’ for those working in Final Cut Pro and Premiere 2018 - one for Full to Video Range and the other for Video to Full Range.

http://www.visceralpsyche.com/downloads/Leeming_LUT_Fixies.zip

See DVX user thread for more information.

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12 hours ago, Grimor said:

Are you selling those luts?

No, Grimor, I am not selling it. :) if you like it, donate at least 10 USD (or equivalent) to any charity organization of your choice (for example Doctors Without Borders; there are many serious ones; maybe something even close to your home). You can write to me ([email protected]) with “Pro-Conformity LUT request” in the subject line and I will send it to you. I will also send some further information about it. Here another example:

 

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