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Andrew Reid

Now available - EOSHD Pro Color V4 HDR for Sony A7 III and A7R III

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EOSHD Pro Color for Sony cameras EOSHD Pro LOG for Sony CamerasEOSHD C-LOG and Film Profiles for All Canon DSLRs
On 7/30/2018 at 12:57 AM, DaveAltizer said:

It seems like you guys aren't doing proper settings in FCPX. In the PDF it teaches you how to set everything up. Works perfect for me. 

"Set everything up"...there is only one setting mentioned for FCPX, or am I completely missing something? “Show HDR As Raw Values” is mentioned 3 separate times in the PDF.  I'm not seeing any other settings mentioned other than the EOS match LUT, which isn't related to the HLG color issue.

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On 7/30/2018 at 5:57 PM, Jordan Lee said:

Shot this video for a Bible camp I was at last week entirely with Pro Color V4 HDR: 

 

Love this, so impressive and wonderful colours. The only technical downside I can see is slightly difficult highlight rolloff, but that's nitpicking. 

I'm curious, I love the movement in this, were you using a glidecam for a lot of the shots? Gimbals have become so impressive but the movement is smooth and has a very natural feeling.

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On 7/31/2018 at 7:32 AM, Drew Allegre said:

"Set everything up"...there is only one setting mentioned for FCPX, or am I completely missing something? “Show HDR As Raw Values” is mentioned 3 separate times in the PDF.  I'm not seeing any other settings mentioned other than the EOS match LUT, which isn't related to the HLG color issue.

HDR footage shows up over exposed and insane. But just try pulling your highlights down and playing with it. All the information is there. The LUT fixes it too. So just apply the lut and you’ll see 

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7 hours ago, Gregormannschaft said:

Love this, so impressive and wonderful colours. The only technical downside I can see is slightly difficult highlight rolloff, but that's nitpicking. 

I'm curious, I love the movement in this, were you using a glidecam for a lot of the shots? Gimbals have become so impressive but the movement is smooth and has a very natural feeling.

Thanks! Yes, a lot of this was shot during harsh sun mid-day, hence the difficulties with highlights. As for the movement, I was using a Zhiyun Crane Plus

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4 hours ago, Jordan Lee said:

Thanks! Yes, a lot of this was shot during harsh sun mid-day, hence the difficulties with highlights. As for the movement, I was using a Zhiyun Crane Plus

Wow, very impressed. I have the Crane as well but find it a touch annoying when it's movement makes a robotic jerk to the left or right. Boring alarm (!!) , but mind if I ask whether you've inputed your own custom settings? It has a very natural feeling, but that could also be down to the good edit. Kudos either way, I know how hard it is to make random meetups or events cinematic but you did a great job.

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I know that the ProColor it’s made for having color straight out from camera, with little or without color grading in post.

But how about using LUTs with the pro color profile? Anyone tested some LUTs shooting ProColor or ProColor HLG?

I will shoot some commercial footage next monday and I want to try ProColor (already bought), and I want to try some LUT color grading. Anyone has tried it? Can anyone share some results?

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27 minutes ago, Coiii said:

I know that the ProColor it’s made for having color straight out from camera, with little or without color grading in post.

But how about using LUTs with the pro color profile? Anyone tested some LUTs shooting ProColor or ProColor HLG?

I will shoot some commercial footage next monday and I want to try ProColor (already bought), and I want to try some LUT color grading. Anyone has tried it? Can anyone share some results?

Everything should be all right, but remember to use LUTs designed for Rec709. 

And, please, don't overdo it. LUTs are meant to slightly alter the colors/contrast and to make it more pleasing / fitting. Michael Bay does it wrong. 

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On 8/2/2018 at 3:13 PM, Gregormannschaft said:

Wow, very impressed. I have the Crane as well but find it a touch annoying when it's movement makes a robotic jerk to the left or right. Boring alarm (!!) , but mind if I ask whether you've inputed your own custom settings? It has a very natural feeling, but that could also be down to the good edit. Kudos either way, I know how hard it is to make random meetups or events cinematic but you did a great job.

This video was shot with the default settings, but I've since modified my settings so that the tilt is slower and the pans are smoother

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On 7/20/2018 at 7:22 PM, CraigM said:

Got an A73 & I've just bought this profile and had issues where it's not displaying correctly on my monitor using FCPX, conclusion I've come to after being told is that I need a HDR capable monitor (I've got an AOC U3477) not just checking the RAW values box in preferences.
What is the workflow with FCPX, from creating a Library (Wide Gamut HDR or Standard) to importing the footage with Optimized and Proxy then a new project using which colour space to then adding the LUT using FCPX Custom LUT plugin and choosing the input/output with the EOSHD Match LUT?
I've tried a few ways but not managed to make it work, I basically see the highlights are completely blown out, but the original footage from the camera looks great.
It seems the highlights are brick walled at 50 IRE on the scopes, I exposed at 0ev on camera.
Looking for advise if I've bought something I'm not setup for or direct me into getting it to work.

Thanks
C.

this is exactly what has happened to me.. did you manage to get a resolution?

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On 7/15/2018 at 4:38 AM, Drew Allegre said:

I must be daft, because I can't seem to get the "PP2" HLG3 clips to show up correctly in an FCPX (10.4.3) timeline.  What's strange is that the thumbnails for the clips look too bright in the media pane.  However, they show the correct levels when I scrub the clip in the media pain, but then it goes back to the incorrect brighter levels when I drop the clip into the timeline.  

I do have "Show HDR as raw values" in Preferences.  Is there something obvious that I'm missing?

Did you manage to solve this issue?

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1 hour ago, Phil Parkinson said:

this is exactly what has happened to me.. did you manage to get a resolution?

I'm running into the same issue. When I imported the files into premiere I noticed the highlights were blown out. I checked again in the back screen of the camera and it looks completely different. If I look at the scopes in Premiere and I uncheck the clamp signal box I see that there's information over the 255 values. As a matter of fact, if you mess with the curves you can recover those highlights and make the image look similar to what you see in the back of the camera. 

I'm guessing all of this has a lot to do with the color space. In pp1 this happens to me, in pp2, the video files look the same on the camera and the computer. PP1 color mode is sgamut3.cine whereas pp2's is rec 709 which is supposed to be a standard. 

If this settings are supposed to give you a Canon look straight out of the camera with no need to grade, why does this need to be so complicated? Is this an error that I'm getting cause my premiere is not up to date? Is this the correct functioning? There's nothing in the pdf about this issue, so I'm hoping Andrew Reid will throw some light for the ones that are experiencing problems like these. 

 

By the way, I used FCPX and got the same result, so it's not premiere. And interestingly enough, if I select NO PP (PP off) I also run into the issue, I'll have to check the xml file and see the colour space that the camera chooses by default. 

 

Also, I tried to import both the mp4 and .xml files into premiere, cause I thought it might be helpful but premiere won't import the xml files, it throws an error. 

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1 hour ago, Phil Parkinson said:

Did you manage to solve this issue?

It's sort of confusing.  I've read a couple things that seem to suggest it's a video card issue (I'm on a 2015 Macbook Pro), but then Resolve handles the footage just fine.  

It was stated above that the data is all there in FCPX, so you can just correct or LUT it back to where it should be, but personally I'm just running HLG stuff through Resolve.

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13 hours ago, Drew Allegre said:

It's sort of confusing.  I've read a couple things that seem to suggest it's a video card issue (I'm on a 2015 Macbook Pro), but then Resolve handles the footage just fine.  

It was stated above that the data is all there in FCPX, so you can just correct or LUT it back to where it should be, but personally I'm just running HLG stuff through Resolve.

I've actually tried 2 different laptops, from different years, with no luck.   

Does anyone have a LUT to workout the issue? 

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