Recommended lenses

Steve Rosen · September 3rd, 2016, 07:25 PM

Alex : I can'r answer your other questions, but as for the LUT, I don't use it - it's really not needed. With J-Log, I just add a little chroma (+10 - 15) and pull down the blacks slightly - and maybe boost the highlights (in FCPX, using the wave form). It's really a simple gamma to grade compared to others.

I'm (reluctantly) going to post a film I just finished in the footage thread.

Noa Put · September 4th, 2016, 12:45 AM

Quote:

but as for the LUT, I don't use it - it's really not needed

My experience tells me otherwise as I have seen a colorshift using J-log which was corrected by using the leeming lut.

Steve Rosen · September 4th, 2016, 11:17 AM

To be perfectly honest, I haven't tried the LS300 LUT (I changed computers and never installed the LUT enabler for FCPX, can't even remember what it's called).

But I had a bunch of LUTs for the BM cameras and I always found myself dumping the LUT and going back to manual CC. I do still use FilmConvert, but even that not as much as before.

Luke Miller · September 7th, 2016, 07:47 AM

The thing that convinced me to buy the LS-300 was the sample footage shot indoors with full frame lenses. I did add the Panasonic 12-35 MFT lens for the times I want a stabilized lens. That is a very competent lens, but my best footage (particularly as light levels fall) seems to come from my full frame Nikon prime lenses at 100% VSM. I'm sure other quality full frame lenses would do as well, but the Nikkors are what I have. I'm happy enough with the results that I've added a lens support so I can use my heavier fast zooms, which all exceed the 800 gram limit of the LS-300 lens mount.

Lee Powell · September 7th, 2016, 11:11 AM

With J-Log1 post-production, the pitfall is in nailing the color saturation. A little contrast (gamma) and sharpening takes care of the dynamics, but it's hard to bring out vibrant colors while maintaining natural-looking skin tones. Beta versions of the Leeming LUT encountered this problem and required multiple trials to get the balance just right. I've seen much LOG footage shot with other cameras that appear to punt on this issue, going with a bleached look in post to keep the skin tones from looking too orange.

B.J. Adams · September 7th, 2016, 11:24 AM

Lee Powell, so if you don't use J-Log1, what setting do you suggest of using in the camera for better results?

Lee Powell · September 7th, 2016, 02:34 PM

Sorry I didn't make myself clear. I do use J-Log1, and post-process it with the Leeming LUT:

Leeming LUT One

This converts JVC's log profile into a calibrated Rec 709 tone curve. From there I'll usually adjust the gamma, sharpen the luma component, and boost chroma to taste. Since J-Log1 mode does not allow you to sharpen the image in-camera, you need to post-process the footage anyway, so you might as well use a full-blown LUT to do the job right.

Alex Humphrey · December 3rd, 2016, 05:33 AM

Quote:

Originally Posted by Steve Rosen

Alex : I can'r answer your other questions, but as for the LUT, I don't use it - it's really not needed. With J-Log, I just add a little chroma (+10 - 15) and pull down the blacks slightly - and maybe boost the highlights (in FCPX, using the wave form). It's really a simple gamma to grade compared to others.

I'm (reluctantly) going to post a film I just finished in the footage thread.

Thank you for the info. I had sort of come to similar conclusions. I find the JVC LUT though quick was for me so far overkill. In fact I find my skin tones falling apart too fast so I'm doing my own gentler kinder curve. I did pick up the Color Finale Pro plug in that if used after using FCPX color with wave form monitor adjustments. I may have to get the Neto or Photon Pro plug in for noise reduction and hide any other uglies with grain added, not that I like either of the ideas. Maybe I need to get my post voodoo down better or maybe a Ninja Flam might help a lot. (4:00am wondering if should have gotten a raw camera) though dealing with raw is a pain.

Steve Rosen · December 3rd, 2016, 09:04 AM

Alex. I find that if I'm very gentle with the grade, the J-LOG footage looks great - there is a tendency these days to either boost chroma WAY beyond normal or to introduce HUNGER GAMES type "Looks" that an 8 bit codec just isn't happy with - my solution for that would be to use filters and shoot as close to how you want it to end up in camera... After that, a simple grade works well with the 300...

I have Two Pocket Cameras and a Micro (and had a D16, but had to return it), so I do shoot raw occasionally. But mostly ProRes 422 or ProRes HQ - Those are amazing codecs and will take a lot of abuse - I wish every camera offered them.

September 3rd, 2016, 07:25 PM	#31
Steve Rosen Major Player Join Date: Dec 2005 Location: Monterey, California Posts: 895	Re: Recommended lenses Alex : I can'r answer your other questions, but as for the LUT, I don't use it - it's really not needed. With J-Log, I just add a little chroma (+10 - 15) and pull down the blacks slightly - and maybe boost the highlights (in FCPX, using the wave form). It's really a simple gamma to grade compared to others. I'm (reluctantly) going to post a film I just finished in the footage thread.

September 4th, 2016, 11:17 AM	#33
Steve Rosen Major Player Join Date: Dec 2005 Location: Monterey, California Posts: 895	Re: Recommended lenses To be perfectly honest, I haven't tried the LS300 LUT (I changed computers and never installed the LUT enabler for FCPX, can't even remember what it's called). But I had a bunch of LUTs for the BM cameras and I always found myself dumping the LUT and going back to manual CC. I do still use FilmConvert, but even that not as much as before.

September 7th, 2016, 07:47 AM	#34
Luke Miller Regular Crew Join Date: Oct 2015 Location: King George, Virginia Posts: 112	Regarding Lenses on the LS-300 The thing that convinced me to buy the LS-300 was the sample footage shot indoors with full frame lenses. I did add the Panasonic 12-35 MFT lens for the times I want a stabilized lens. That is a very competent lens, but my best footage (particularly as light levels fall) seems to come from my full frame Nikon prime lenses at 100% VSM. I'm sure other quality full frame lenses would do as well, but the Nikkors are what I have. I'm happy enough with the results that I've added a lens support so I can use my heavier fast zooms, which all exceed the 800 gram limit of the LS-300 lens mount.

September 7th, 2016, 11:11 AM	#35
Lee Powell Regular Crew Join Date: Jun 2015 Location: San Francisco, CA Posts: 133	Re: Recommended lenses With J-Log1 post-production, the pitfall is in nailing the color saturation. A little contrast (gamma) and sharpening takes care of the dynamics, but it's hard to bring out vibrant colors while maintaining natural-looking skin tones. Beta versions of the Leeming LUT encountered this problem and required multiple trials to get the balance just right. I've seen much LOG footage shot with other cameras that appear to punt on this issue, going with a bleached look in post to keep the skin tones from looking too orange.

September 7th, 2016, 11:24 AM	#36
B.J. Adams Regular Crew Join Date: Mar 2008 Location: Malta Posts: 111	Re: Recommended lenses Lee Powell, so if you don't use J-Log1, what setting do you suggest of using in the camera for better results?

September 7th, 2016, 02:34 PM	#37
Lee Powell Regular Crew Join Date: Jun 2015 Location: San Francisco, CA Posts: 133	Re: Recommended lenses Sorry I didn't make myself clear. I do use J-Log1, and post-process it with the Leeming LUT: Leeming LUT One This converts JVC's log profile into a calibrated Rec 709 tone curve. From there I'll usually adjust the gamma, sharpen the luma component, and boost chroma to taste. Since J-Log1 mode does not allow you to sharpen the image in-camera, you need to post-process the footage anyway, so you might as well use a full-blown LUT to do the job right.

December 3rd, 2016, 09:04 AM	#39
Steve Rosen Major Player Join Date: Dec 2005 Location: Monterey, California Posts: 895	Re: Recommended lenses Alex. I find that if I'm very gentle with the grade, the J-LOG footage looks great - there is a tendency these days to either boost chroma WAY beyond normal or to introduce HUNGER GAMES type "Looks" that an 8 bit codec just isn't happy with - my solution for that would be to use filters and shoot as close to how you want it to end up in camera... After that, a simple grade works well with the 300... I have Two Pocket Cameras and a Micro (and had a D16, but had to return it), so I do shoot raw occasionally. But mostly ProRes 422 or ProRes HQ - Those are amazing codecs and will take a lot of abuse - I wish every camera offered them.