![]() ![]() Save this curve from PS and load it up in After Effects, or convert to a lut using IWLTBAP lut generator by applying the curve to a HALD.ġ. There are only so many points you can add so just get a good spread.ġ0. Just keep on adding points and type in the input (camera 1) and output (camera 2) values. Use curves to match the gamma of one camera to another. Put both step wedges into one document and use the info panel to identify the values of adjacent squares and write them down.ĩ. (Bridge>Tools>Photoshop>Load files into PS layers)Ĩ. In Photoshop combine these central squares into a linear wedge. The central portion is best because it avoids vignetting.ħ. Export the central portion of each shot from clipping down to almost pure black (let's say 36 shots - 12 stops - 1/3 stop increments). ![]() If not, you might want to overexpose one to preserve maximum DR.Ħ. Check if the 2 cameras clip white to 100% IRE (C100 may have superwhites to 109 in WideDR?) at the same point. ![]() Import the files from both cameras into your NLE and look at the waveform. Use shutter speed first, and if you can't get dark enough - aperture.ĥ. At base ISO, shoot a series of clips that start about a stop or two above clipping and go 12 stops down from actual clipping in 1/3 stop increments. Slightly defocus the lens so that the monitor pixels become blurred and moire disappearsĤ. White balance each camera to that white.ģ. At night, load up a 100% white image on your monitor.Ģ. Hi Sean, this is a really interesting project - to match 5D3 Cinelog C with C100 colour and gamma and it's totally doable. Personally, I would really love to be able to use Ektar 100 LUT's (either be TWISTED or ADVANCED_02) on top of Cinelog-C for RAW together w C100II's C-Log only if I had a proper LUT to use in order to better match w the RAW's Cinelog-C colorspace + Ektar 100 files. However, I would prefer to shoot in WideDR (or C-Log) if I could but not sure how to match RAW w Cinelog-C (certain LUT's) unless I create my own from Davinci Resolve by matching the scopes, right? I know you're probably reading this - but really thinking that I may be better off (even tho I should avoid from using this) to shoot Standard EOS color profile on the C100II to better match with RAW if I were to apply Cinelog-C w Canon Faithful LUT on top from the LUT bank? Hence the reason why I'm biting the bullet this time to go all RAW in order to give myself the extra flexibility & latitudes in post since I'll be color grading them before I hand them off to clients for them to edit themselves (the last wedding's client wanted the footage ready straight out of the cameras for him to take home on the night of and wasn't comfortable w flat log's/color-grading, etc.) so for those of you have done something in similar, please share your thoughts or experiences, if any. Not very forgiving in Highlights or Shadows. This time around I am going to go all RAW (probably 12-bit lossless from UHD/3K/4K experimental) and the question boils down to how should I accomadate Cinelog DCP together w either WideDR or C-Log color profiles flawlessly.īecause previously the last wedding I shot everything in H264 w crop_rec build for 5D3's in Faithful (0,1,2,0) together with C100II in Standard EOS color profiles which was critical when exposing for subjects. ![]()
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