Ed_David Posted September 9, 2015 Share Posted September 9, 2015 I think based on Phil's FS7 slow motion video I have an idea of what he does to grade which I always liked. I recolored my slo mo fs7 video with same style: Basically I think he applies even to sony cameras in filmconvert an arri alexa lut - probably fuji eternal and or kodak 5219 - and raises the shadows up - milky shadows. From here he just affects the offset and plays with sharpness over the final image. The alexa lut in filmconvert gives really nice greens and blues as a starting point.I did that plus went to a kodak release print by going after filmconvert to rec 709 generic impulz luts to a cineon then off to a film print.But not every video is the same technique at all and not one lut works well for each video - each is different depending on scene - color balance - etc - but I like the rich look he got out of the fs7 and it made me reevalutate the camera. I am now pro the fs7 again and think the fs1 will be a pretty amazing camera. I am still completely mesmorized by color - by how it all works - to get good skin tones but also to create looks that feel unique and interesting. It's a very patient and experimental artform.I no longer think we should all be trapped to c300 for skin tones - great skin tones and feel can come from s log 3. IronFilm and sanveer 2 Quote Link to comment Share on other sites More sharing options...
Administrators Andrew Reid Posted September 9, 2015 Administrators Share Posted September 9, 2015 That Alexa LUT in film convert seems to suit a lot of footage, I use it over the 'proper' camera profiles a lot.I don't mind milky blacks either, because hardly any of the cameras today seem to do proper blacks anyway Quote Link to comment Share on other sites More sharing options...
racer5 Posted September 9, 2015 Share Posted September 9, 2015 Thanks for your workflow on this Ed, and the various helpful tests and shootouts you've posted. I do have to say that the Sony cameras end up looking "lutty" to my eyes. The highlights don't clip but they go into a weird curve-shoulder zone that I don't personally care for. It's a pity as the "f" cameras are becoming very accessible and I want to like their look. Quote Link to comment Share on other sites More sharing options...
Ed_David Posted September 9, 2015 Author Share Posted September 9, 2015 Thanks for your workflow on this Ed, and the various helpful tests and shootouts you've posted. I do have to say that the Sony cameras end up looking "lutty" to my eyes. The highlights don't clip but they go into a weird curve-shoulder zone that I don't personally care for. It's a pity as the "f" cameras are becoming very accessible and I want to like their look.I think Alexas also have a weird curve shoulder too - and it seems to make sense since they imitate the alexa lut very much Quote Link to comment Share on other sites More sharing options...
sanveer Posted September 9, 2015 Share Posted September 9, 2015 That Alexa LUT in film convert seems to suit a lot of footage, I use it over the 'proper' camera profiles a lot.I don't mind milky blacks either, because hardly any of the cameras today seem to do proper blacks anyway And except OLED monitors/ TVs no other monitors can show Blacks like they really should be. Quote Link to comment Share on other sites More sharing options...
fuzzynormal Posted September 9, 2015 Share Posted September 9, 2015 I don't mess around with LUT's much at all as I typically eye-ball my coloring shot to shot with the Magic Bullet Suite... but am curious to try. So, from what I understand, one first needs the filmcovert plugin to apply these settings. Straight forward enough. You also write, "plus went to a kodak release print by going after filmconvert to rec 709 generic impulz luts to a cineon then off to a film print."Which I don't follow very well because I'm a bit ignorant. Sounds like you have a multiple color effects working though. First, the filmconvert set-up.Second, that's followed by "rec 709 generic" which then uses "cineon" and then finally to the "film print" effect. Are the "rec 709," "cineon" and "film print" part of the impulZ software?Eh, kind of a stupid inquiry as I don't know much yet...and I also don't shoot LOG, so lots to learn... Quote Link to comment Share on other sites More sharing options...
Ed_David Posted September 9, 2015 Author Share Posted September 9, 2015 I don't mess around with LUT's much at all as I typically eye-ball my coloring shot to shot with the Magic Bullet Suite... but am curious to try. So, from what I understand, one first needs the filmcovert plugin to apply these settings. Straight forward enough. You also write, "plus went to a kodak release print by going after filmconvert to rec 709 generic impulz luts to a cineon then off to a film print."Which I don't follow very well because I'm a bit ignorant. Sounds like you have a multiple color effects working though. First, the filmconvert set-up.Second, that's followed by "rec 709 generic" which then uses "cineon" and then finally to the "film print" effect. Are the "rec 709," "cineon" and "film print" part of the impulZ software?Eh, kind of a stupid inquiry as I don't know much yet...and I also don't shoot LOG, so lots to learn...not stupid at all so filmconvert takes log or rec709 (normal standard footage like from canon 5d) and converts to a film-like color palette in rec 709 space. From here I go from rec 709 to cineon color space - created by Kodak to maximize color fidelity and exposure information. From there then I modify it with an impulz lut then go to the final print - the film print - which I then modify at the end too.SO basically I color the footage in three stages - each stage effects the rest - it's pretty amazing - it's like a three tier coloring process. Each stage's color work effects the next.Sometimes I put too much blue in the shadows of the final print - but it all is exploding my brain - coloring is fascinating.I wish I knew more - and I am learning on my own and if others have ideas I'm proud of my new work on this sony f35 thing I did - really making the final print have some interesting turn to the brighter greens and feeling meetier and more organic. Palpet and mercer 2 Quote Link to comment Share on other sites More sharing options...
mercer Posted September 9, 2015 Share Posted September 9, 2015 Looks amazing!!! You used the same workflow for this as described above? I'll have to look into this cineon LUT. Do you know if you can purchase individual LUTs from vision- color, or do you have to purchase the packages? I just bought the basic package the other day when I bought Color Finale. Quote Link to comment Share on other sites More sharing options...
Ed_David Posted September 9, 2015 Author Share Posted September 9, 2015 I bought the ultimate package - I think they have cheaper ones - but if you have some cash I would support them - they are really good people. Quote Link to comment Share on other sites More sharing options...
mercer Posted September 9, 2015 Share Posted September 9, 2015 I bought the ultimate package - I think they have cheaper ones - but if you have some cash I would support them - they are really good people.Yeah, I just bought the basic package, because this is all pretty new to me and I don't have a camera that shoots log. But I will look into their other stuff. Thanks. Quote Link to comment Share on other sites More sharing options...
Ed_David Posted September 10, 2015 Author Share Posted September 10, 2015 even without log - use the rec 709 generic and it helps mercer 1 Quote Link to comment Share on other sites More sharing options...
Bioskop.Inc Posted September 10, 2015 Share Posted September 10, 2015 Ed, thanks for the Filmconvert Alexa tip, it really is so much better than the BM one I was using - the only downside is that i now have to re-colour an entire Doc! But it'll be worth it. Ed_David 1 Quote Link to comment Share on other sites More sharing options...
Ed_David Posted September 10, 2015 Author Share Posted September 10, 2015 Ed, thanks for the Filmconvert Alexa tip, it really is so much better than the BM one I was using - the only downside is that i now have to re-colour an entire Doc! But it'll be worth it.oh god I know how that feels. Quote Link to comment Share on other sites More sharing options...
fuzzynormal Posted September 10, 2015 Share Posted September 10, 2015 basically I color the footage in three stages - each stage effects the restAll using a cascading sequence of plugins within an editing app? In your case are you using Resolve? So, the FilmCovert plugin, to the Impulz plugin, to the Impulz plugin...? I'm also ignorant about Resolve. Quote Link to comment Share on other sites More sharing options...
Gregormannschaft Posted September 10, 2015 Share Posted September 10, 2015 I have the Impulz Ultimate Package and am also a little confused. But that's alright because normally you learn something next...So use add a FilmConvert Alexa profile to the footage. Then add a LUT from Impulz to go from rec709 to Cineon? Would that be the LUT named 'Alexa Rec709 to LOG-C_Impulz.cube' in folder 28 of the Impulz pack, Ed?Apologies, the rec 709 labels + Cineon labels + the CIN/FC/FPE and VC tags at the end of the LUTS in that package always confused me.In the past I've gotten interesting results by simply adding FilmConvert and throwing an Impulz Sony Cine 4 .FC LUT on top. Quote Link to comment Share on other sites More sharing options...
Oliver Daniel Posted September 10, 2015 Share Posted September 10, 2015 oh god I know how that feels.I re-graded many historic shots in my new showreel... I actually find it mesmerising that I thought the previous version looked good, when in fact, it was actually quite bad. Glad you're enjoying the FS7 - I use it all the time. Don't use XAVC-L though - found some extremely hideous banding and macro blocking issues. Normal XAVC is fine!I've also been using the RX10 II with the FS7 - that thing is a brilliant little camera with tweaked Slog settings! You should get one. Quote Link to comment Share on other sites More sharing options...
Ed_David Posted September 10, 2015 Author Share Posted September 10, 2015 I have the Impulz Ultimate Package and am also a little confused. But that's alright because normally you learn something next...So use add a FilmConvert Alexa profile to the footage. Then add a LUT from Impulz to go from rec709 to Cineon? Would that be the LUT named 'Alexa Rec709 to LOG-C_Impulz.cube' in folder 28 of the Impulz pack, Ed?Apologies, the rec 709 labels + Cineon labels + the CIN/FC/FPE and VC tags at the end of the LUTS in that package always confused me.In the past I've gotten interesting results by simply adding FilmConvert and throwing an Impulz Sony Cine 4 .FC LUT on top.yes I throw the flimconvert plug in on it - then next node - go with a REC709 generic impulz - pick one with a .CIN extension and you are in CINEON - then from there - next node - I go to the CINEON folder and choose kodak d55 or just play with them - then next node - I modify the "film print node" - sharpen it, etc Gregormannschaft 1 Quote Link to comment Share on other sites More sharing options...
racer5 Posted September 11, 2015 Share Posted September 11, 2015 I think Alexas also have a weird curve shoulder too - and it seems to make sense since they imitate the alexa lut very muchDon't alexas clamp saturation while sonys scale it with luminance? Something like that. I hear what you're saying but the post-f35 sonys have a spot-able look and there is a reason behind it. Quote Link to comment Share on other sites More sharing options...
Bioskop.Inc Posted September 11, 2015 Share Posted September 11, 2015 oh god I know how that feels.Well after extensive testing with BM ProRes [film] footage, whilst using FCPX, it really seems that the Alexa profiles are so much better than the BM specific ones - skin tones, contrast & colours appear much nicer.However, I have found that to get the best results (or at least, to my liking) in FCPX, I am taking the flat Film footage & adjusting exposure, WB & saturation - this gets the footage looking like it should do e.g. revealing all the goodness of the BM footage. Its only then that i've put the Alexa rec709 profile from Filmconvert on top of all this & it adds that extra something that was really lacking in the BM profiles of Filmconvert. Now my footage really seems to come to life in a much more pleasing way than before.This is especially so for this Doc i'm finishing up - Black skin tones just always came out looking un-natural, with hints of orange/yellow. The Alexa profile just nails it perfectly or at least a lot better than before!The 2 flavours of Log profiles didn't seem as nice going straight onto the BM flat film footage though - got me thinking that I could try making Film footage flatter before adding FC...cheers Ed for pointing us towards Alexa FC profiles, more work for me now, but better looking footage! Ed_David 1 Quote Link to comment Share on other sites More sharing options...
Recommended Posts
Join the conversation
You can post now and register later. If you have an account, sign in now to post with your account.
Note: Your post will require moderator approval before it will be visible.