Custom creation read for DSLR (i.e. Canon 70 d) for use w/Lumetri?

Does anyone have any advice or experiences on the tools used, or how to create custom LUTs for Canon turned 70 d w/relatively neutral picture style or similar? For me, it is not so much that I want to reinvent a wheel as much as simply understand how to play with the experience of the creation of such a LUT to see not only how can I do, but what kind of results/comfort I can achieve.

A little history: I'm relatively new to images of DSLR shooting (no photos but video). I use a Canon 70 d.

I recently learned a little about some of the popular photo there models which allow to draw in relatively neutral sequences which apparently has some advantages in post (but not always). My understanding is that the output of 8 bits in many DSLRs, including the 70 d restrict the dynamic range that can be represented for some types of shooting, more specifically producing jpg files in the device, as well as. MOV, which requires treatment with loss in camera, where the style of photo (in terms of Canon) allows to define what color ranges to focus on and other minutiae, all designed to describe what is important to remember in the limited space of a DSLR. I guess this allows video capture in camera more effectively use space of 8 bits for color definitions. I guess lut helps solve some of this use when ingestion.

I have learned quite a bit of this with quick searches some time ago, but have a very general understanding, enough to produce correct results without even using a LUT in the post, but it would be nice to know more, or at least be pointed in some good directions.

Oh, after looking on the net and learning a few styles of popular image and LUTs etc, I read a very interesting post useful somewhere I think that in this forum... someone with extensive experience in this area pointed to someone who shot so-called video diary on a DSLR is not true newspaper and that the amateur filmmakers who consider it are often something cinema that is not all he did to be... who, for example, reduce the saturation at the time of the shooting on a DSLR can produce apparently-looking pictures on the newspaper, but it certainly loses 'chroma', which cannot be recovered despite what the hype on such people. I found it instructive but is also puzzled by how many are apparently very happy shooting more neutral DSLR footage benefits w / apparent in post... the final essential I found myself with: it really depends on all the situation where if we know the style for the scene, and the post READ or whatnot and it works, great... but what a style shooting time (w/post LUT) is no guarantee not any kind of cinematic look (or any another look) for all scenes/situations and some or many of the cases, can guarantee that you will be without color because you have loaded the camera so that he too gives up while thinking about a correction station can recovery that has lost... and he can't.

So it's kind of image w/REFLEX designs, taken from neutral view (fake log), where I'm posting corrections including LUTs... curious to hear the thoughts or create discussion.

SHOOTING

First thing to know about shooting with most all current & past DSLR, is that you are working with 8-bit codecs. Essentially, 4:2:0 and you can look for a more detailed explanation elsewhere. There are a few that can make 10 bits (4:2:2) and of course, high platforms range pro sometimes shoot 16 bits (4:4:4). GH4 Panny for example has a 10-bit mode. IF you have an external recorder that can handle the work, it can turn off the 10-bit files. But it will not save them on the internal drive.

Well... I worked with a little media GH4 Panny, photographed myself... and it's a bit "thicker" than the 8 bits of the camera (as much as the maneuverability), but... not as much as I expected. There are differences between the actual quality of the files from different cameras that do not appear to be explained by any details of the specifications. (And I do not work with the GH4.) I wanted more than 10 bits of the GH4, actually. I'm hoping to get the eventual GH5.

Example... of the images fixed cameras. My D200 was a 'generation' earlier that my D3... and that D3 is only a 12.2 megapixels, compared to the 10.2 of the D200. Do just a bit of 'post processing' by changing the contrast, saturation/color changes and the bad 'broken' file of the D200. Artifacts, banding, macro - blocking it's RAW files. Go above ISO 1600? Oh my... No.

The D3? Same 'depth' of files, just a little more pixels, right? VERY different files... mangle these things in all directions, practically bend them backwards... no signs of damage. BEAUTIFUL images. It is not just the bit depth or even just the codec. Those who were far better image... and perfectly manipulated elements in the processor of the camera, preparing the record of the image. ISO 6400? No problem. Higher? Well... maybe need a little shade in position and a bit of noise reduction. But still... usable for a picky fool like me.

The D600 is a generation later than the D3 and a LOT more pixels. Greatly improved, it should be even better, right? Well... we still use the D3 when passing over 3200 ISO and much... Although the D600 has many more pixels, to print a 30 x 40 inches? I prefer the D3, the D600 is quite credible to 30 x 40 and a little more.

Is the same in video, especially in DSLRs. Not all equal camera specifications... are equal in the real world work. And your comment about to realize that some people, trying to mimic the shooting journal styles of spendy cameras 'pro', go so flat that they cannot recover properly... is dead on. You must study the camera (s) that you are handling, test the. Test the media. Break it. Until you know all the ways to break, you can't push it as far as you can without breaking. You can't make the most of it.

Then... shooting DSLR in order to get as much as you can in this media probably 8-bit, you must...

Choose to start with a fairly neutral 'profile'. You don't want to do anything 'jumped '.

Reduce the contrast until you keep the MOST dynamic that the camera can record. It varies between cameras. That's why you reduce contrast... just to draw a greater number of pixels as this camera can provide. Do not pull the contrast more far. You don't win anything it. It is NOT a spendy video-built platform with 12-bit capacity.

Sharpness... most of the cameras were execrable sharpening "routines". Some cameras can operate very well left a few ticks from the bottom of their sharpness setting, some need to be so low that it goes all the way down. TEST. Any editing software has better sharpening than this camera.

Saturation... a lot of DSLR overcook red, especially in midrange/highlights. Some can do with green or blue, but it is almost always red. Decline by saturation, so you don't get too saturated is a good thing. That's the only reason to back your saturation. Depending on the camera, you will be typically halfway between the middle position "0" and the lowest setting before you get "there". Safe. And that of all you want, is the TV broadcast good saturation in the reds. You can set all the rest if necessary.

Hue... When you do a good white balance in a controlled lighting situation, with all the lights in the same type of quality 'bulb', and he still had to pull secondary on a particular shade or quadrant all the time, you might be able to adjust the hue of your camera and get a 'normal' a little better out of it.

Some devices have other controls... "pedestal" and others. In most of the DSLR, those who are of limited utility. I did not talk about any camera in the DSLR group who had really wonderful abilities unlocked to use these controls. In the test, you could get help in some circumstances.

Then... the final result, is you shoot as neutral as possible, using the controls of the camera to get a broad dynamic range on possible chip, protect your media oversaturation in the reds in particular and... one more thing.

HIGHLIGHT OF THE EXHIBITION AND THE IN-CAMERA WHITE BALANCE.

Figure out what 'works' for you for the white balance and use wisely. I tend to use the most recent ExpoDiscs for general things, and of course, it should be used to the position that you are shooting at (where your subject will be)... underlined the primary light source. Nail the exposure setting in the histogram on the camera while the ExpoDisc is on the lens (spike exhibition in this dead histo), THEN do with the ExpoDisc white balance. At other times, I do a simple adjustment of kelvin. It's one or the other. Some use things of auditor of passport, some do other things. Do SOMETHING that gives you consistent and predictable results.

You don't have the number of colors to do much 'corrective' color-balancing in post. And considering that you also have to allow a little 'margin' to creative coloring, you need to pretty much nails "neutral"-cam.

I STRONGLY recommend getting an external monitor to your camera that shows the false colors and set your exposure according to this monitor. Use of the indicator for whites, especially set your exposure protecting the salient facts necessary. Know where your black and set the lights for them if necessary... but drop where they are going. The ISO and exposure for whites.

In available darkness shooting, worry less do everything Mount ISO underexpose. Exposure necessary darks is BAD... When you 'lift' them you can get the hang of macros. A small reduction of extra noise at an ISO setting higher is much better to handle in position to try to eliminate the blocking of macros.

JOURNAL of shooting... Some cameras now do have a sort of "journal", as saying that the Panny GH4 East and several others. In the GH4, it was more of a public relations thing, is my estimate. The log parameter does not well outdoors in bright situations... MANY problems of banding... but it helps me to some in the studio lighting. This is a very nice addition to studio shooting, but when even... correctly set footage 'normal' from the studio of GH4 works pretty well. A GH5... maybe this will be a huge advantage. Maybe not.

Some other devices, in the Canon and Sony especially, get some additional benefits of their journal parameters. However, to open an exhibition and other parameters of the camera are rather crucial and difficult to "verify" during the filming, he must test and know your cold gear. They are not a panacea.

Follow the above, and you will get more constantly out of the camera that you can make the most of post. And Yes, a few very good colorists know I tell stories wonderful to get Arri media and such... which is total crap that the camera or the DP operator did not really know what they were doing. Or he just blew. And now, of course, they want the colorist to fix what is about... truncated of mush. Mutilated mush of a back is not much better than porridge mutilated to a Canon MkIV. But beautifully and technically perfect media of any camera... worth to work with.

Neil

Tags: Premiere

Custom creation read for DSLR (i.e. Canon 70 d) for use w/Lumetri?

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