@crowbar PM me

@crowbar looks great.

@dial I bought the Ninja 2 for two reasons: 10-bit and false color. You really have to nail your exposure for best results, and the reason people have started over exposing by two stops is to get the mids and lows up where there are more bits, but this sacrifices highlight detail.

Sacrificing highlights is just par for course, so that's no big deal, but who the hell has two stops to give when shooting indoors? But if you under expose by even a half of stop with V-Log, you're screwed, so false color to the rescue so you can actually see what your exposure is on everything in the frame. Histogram lets you know the scene exposure, but you're just guessing what item in the scene is exposed where. Zebras won't let you know if you're underexposed on something of importance. So I recommend the Ninja 2 for false color exposure tools almost more than for 10-bit.

@estarkey7, so then regarding false colors, let's say that skin tones are the priority of a shot, the approach then would be to expose for false colors reading in the pink zone for skin while then letting everything else just fall as is... This then is a more specific method to target exposure on important areas rather than simply exposing two stops over..

For Premiere Pro users, I've created a new color space optimized for basic color correction of Cinelike D and V-Log L footage using Lumetri Color. It's the same idea as my log space for DaVinci Resolve, FCPX, and Sony Vegas Pro: you can perform exposure compensation, white balance correction, and contrast adjustment almost as if you were working with raw footage. I effectively invert the weird color manipulation of Cinelike D and V-Log L, transforming them into a scene-linear unrendered color space. The result is a neutral look with accurate colors.

I claim that Cinelike D actually performs better than V-Log L: you get virtually the same color accuracy and dynamic range, but without any visible 8-bit banding. And Cinelike D is a lot easier to shoot with, because you can judge exposure and white balance on the camera's monitor.

@rNeil and @LPowell, please let me know how the LUTs work for you. I experimented a lot with Premiere, SpeedGrade, and After Effects, and none of them had the color tools necessary for working with a purely logarithmic color space, even one with a smaller gamut and reduced dynamic range. So I made this new color space with a gamma encoding specifically for Lumetri Color. After Effects actually includes color management support, but I didn't investigate that, favoring an approach that would let you perform basic color correction right inside Premiere.

@CFreak, I haven't tried Premiere Pro CC 2014. If it can load Cube LUTs, it will probably work.

Rec.709 doesn't specify the behavior of a display, so it is not possible to calibrate a monitor to Rec.709. A monitor would ideally be calibrated to sRGB (or possibly Rec.1886) to properly display Rec.709-encoded video.

sRGB and Rec.709 are compatible with each other, but they are not interchangeable. Rec.709 is a standard for video cameras, specifying how they should render and encode their output. sRGB is a standard for monitors, specifying how they should display their input (and specifying how you should encode an image if you want it do be displayed a certain way on an sRGB monitor). sRGB and Rec.709 are compatible in the sense that if you hook a Rec.709 camera up to an sRGB display (encoding differences aside), the image will look correct. But the two standards have significantly different opto-electronic transfer functions, due to the fact that the viewing conditions of an sRGB monitor are different from the typical conditions under which a video camera shoots. If you use the sRGB OETF where you should be using the Rec.709 OETF, you'll get an image with unnaturally low contrast. Rec.709 specifies how to render an image so that it will be displayed with natural contrast. sRGB does not specify how to render, leaving that to the user to decide.

Most cameras these days don't have Rec.709 output. They use their own rendering, quite different from Rec.709, especially in the highlights.

@RKM, thanks! Sorry, I forgot to mention that. Use Cinelike D with all zeros for the camera's contrast and color settings.

And please let me know how the color space is working for you guys. It's based on a lot of my own experience with the output of various cameras in other apps, but only limited testing in Premiere.

Thanks @all for the clarification :-)

Ok, in that case, to use the LUTs in Premiere Pro CC 2014 you'll want to use an RGB Color Corrector effect placed between a pair of Lumetri effects with the input and output LUTs. For exposure compensation, use the RGB Color Corrector's master gain control. For white balance correction, use the RGB Red, Green, and Blue gain controls. For contrast adjustment, you can either add another Lumetri effect with a contrast LUT just before the output LUT, or use a combination of master gamma and master gain. After adjusting gamma, you will need to go back and change the gain to compensate for the altered brightness of middle grey. Add all the effects and load the LUTs before you start making adjustments in the RGB Color Corrector.

So this is the sequence of effects:

1. Lumetri with an input LUT

2. RGB Color Corrector, using master gain, RGB gain, and master gamma

3. Lumetri with an output LUT

or

1. Lumetri with an input LUT

2. RGB Color Corrector, using master gain and RGB gain

3. Lumetri with a contrast LUT

4. Lumetri with an output LUT

@mat33

Why v-log at so soft light in a cloudy day? Looks dark, noisy and washed out. Did you use iso1600? Image looks like cheap small sensor camcorder. Sorry.

@2wheelsimon

http://www.personal-view.com/talks/discussion/14012/exif-data-in-panasonic-cameras#Item_2 http://www.personal-view.com/talks/discussion/13955/using-alpha-channel-for-correcting-playing-video#Item_4 http://www.personal-view.com/talks/discussion/11663/hopes-for-next-fw-update-for-gh4#Item_4 http://www.personal-view.com/talks/discussion/11663/hopes-for-next-fw-update-for-gh4#Item_4 http://www.personal-view.com/talks/discussion/8955/gh3-mov-poor-mans-raw/p1

As you can see if you read these topics there is little interest for new ideas and findings when trying positively bring to discuss with. Bringing issues to light is also a way to learn about our equipment. I usually say my thoughts short and straight without many softening frases or being very polite all the time.

My negative comments about v-log is for learning too. Someone may save 99$ and lots of trouble when figuring how bad the 7bit v-log is.