Re: Technicolor Cinestyle Initial Tests
 

First, as it was expleained to me, the benefit of appling change to the Cineform format is that it is done in 10 bit color space.

Second, you can apply a film look, and then do your adjustment in the NLE. And yes you can change the .lut in post if you want.

Third, the footage on the NLE timeline is affected instantaneously, and you can have the NLE open to monitor changes instantaneously.

By the way, I am not a Cineform shill. But I think it does a great job, and some here are not giving good information about Firstlight does, and you should really find out more about it. Here is a video that explains a bit.

Introduction to FirstLight (part 1) - VIDEO TUTORIAL : cineform support

Re: Technicolor Cinestyle Initial Tests
 

I did this test with my Canon 5D and Canon T2i, comparing, and using CIneform. I used a .lut in Cineform and also added 50% sharpening in post.


Note that David Newman has now posted a Cinestyle .look file for download. It looks pretty good. Download it here: http://j.mp/iSidLT

Re: Technicolor Cinestyle Initial Tests
 

Very pleased with the new Technicolor profile but I wouldn't use it for every project.

Re: Technicolor Cinestyle Initial Tests
 

Chris and Olivier,

Nice footage. It certainly looks like there is a lot of dynamic range with Cinestyle. I'm not seeing a lot of aliasing in either clip. Is Cinestyle helping with that or is that the result of turning down the sharpening in camera?

Pat

Re: Technicolor Cinestyle Initial Tests
 

Hey Pat:

The roofs on the homes across street are exhibiting moire, which is, in my understanding, a type of aliasing. If you down load my uploaded files, it will show up better than what has been rendered by Vimeo...

Re: Technicolor Cinestyle Initial Tests
 

Why wouldn't you- except in those situation where no post grading is going to be done. My understanding of the Technicolor Cinestyle Picturestyle is it opens up your file closest of any Picture Profile to actual raw images--- as close as what can be attained with the codec.

What we fail to remember sometime, is that anything we add on in the camera (saturation, sharpness, contras, etc.) can be added in post, probably with a greater degree of control, and with better results. In my case, I convert the file to Cineform which actually lets you work in (if their claims are accepted) 10 bit color space. And with use of Firstlight, I can instantaneously apply what I might have wanted in the camera in a simple batch process to the original footage, but with much greater degree of control.

Re: Technicolor Cinestyle Initial Tests
 

Hi Chris,

Since you need to grade every shot I wouldn't use the profile for less expensive projects. Personally I would but sometimes the customer doesn't have the budget.

Re: Technicolor Cinestyle Initial Tests
 

Hehe, i think your colour correction workflow is vastly different...in quality of workflow! than most here :)

Up until now I've been working mostly with a slightly burnt in camera color + grading for natural to slightly exaggerated looks and its been fine, but for more extreme pushes of colour i do find it helps to desaturate a bit. but I'll add that i do get my burnt in camera looks first and then desaturate a bit if needed for post.

something else i noticed with respect to the inherent 5D/7D quirks, such as moire or blocking is they seem to disappear more the bigger the screen gets.

I have a little 14 inch jvc crt pro monitor that shows most flaws quite easily, that in the beginning when using the 7D it was driving me crazy when editing/colour correcting - but then i found when even on a 25 to 30 inch screen most of the minor to medium issues were gone, for the most part - on a 50 or 60 inch it feels like a movie theater. Great little cameras!

Re: Technicolor Cinestyle Initial Tests
 

Footage looks great Chis, I am downloading now for a closer look. I like the doorway in shadow across the street and the black bits on the car not being lost to black, as well as the sky not blowing out.

Liking this a lot.

Re: Technicolor Cinestyle Initial Tests
 

Technicolor have released a new 3D LUT that is compatible with the LUT Buddy plug-in and Apple's Color & prevents FCP crashing when the clip is rendered

CineStyle, Digital Printer Lights, Filmmaking - Technicolor

Unfortunately FCP still takes an age to render the footage to which you have applied the LUT using LUT Buddy (3-4 minutes for a 20 second clip on my 2.5GHz MBP).

Re: Technicolor Cinestyle Initial Tests
 

I'm sorry, maybe it's just me, but I see almost no shadow detail in that video and the highlights look strange. I'm not sure this technicolor profile is to be used for high contrast scenes..

Re: Technicolor Cinestyle Initial Tests
 

Folks,

I must be retarded. I installed the profile on my camera, and LUT Buddy on CS5, but LUT Buddy is looking for a .3dl file. The file that Technicolor provides and says works with LUT Buddy is an .mga file.

Have I missed something? Is there a place to download LUTs that work with LUT Buddy?

Thanks for your help.

Cheers,

Sterling

Re: Technicolor Cinestyle Initial Tests
 

I think this profile is a boon but emphasises the need to be considerate of the 5Ds foibles when (thinking about) lighting.

Here are some grabs from a recent trip to Uganda a couple of weeks back, where interviews were conducted in remote refugee settlements, usually outdoors and in a hurry (nobody likes to hang around in near 40 degree heat). What is most impressive to me is how this picture profile (pp) hangs on to darker skin tones and interprets them with apparently more accuracy than previous pps I've used. Clearly, some areas I just needed to blow out, given the huge dynamic range. But there seems to be far less noise in out-of-focus dark/darker backgrounds too and a resistance to macro-blocking.

The first two grabs need colour matching (change in lighting conditions/colour temp from the silo door/opening behind me). The last grab below I thought would be particularly trying. It still needs lifting on the main figure on the right but given how harsh the sun was (see his left arm) I'm surprised there was any tonal definition left in the shadows on his face at all. I could have used an assistant with a reflector for that one.

http://farm3.static.flickr.com/2126/...3c3a4eea_z.jpg

http://farm6.static.flickr.com/5188/...4b38d67d_z.jpg

http://farm3.static.flickr.com/2419/...c8bd70c3_z.jpg

http://farm3.static.flickr.com/2424/...5277943a_z.jpg

Re: Technicolor Cinestyle Initial Tests
 

These look good Justin, I wish I could use it next week shooting a doco in the States but I have to match with existing footage and other cameras for the project as much as I can, so I have to play safe with the images I supply as I won't be there for the edit/grade.
Shame…

Re: Technicolor Cinestyle Initial Tests
 

Thanks Wayne. One thing that struck me about using this pp and the consequent LUT is just how faithful to the original scene the footage was. I think the workflow will be key here. But my impression is that the application of the LUT on a clip has a fairly light footprint on the codec, to which further grading could be usefully applied without noticeable 'destruction' of the codec. Clearly, your project's post-flow will determine what you can do here.

Incidentally, anticipating lots of red tones, I decided to use the 5DtoRGB conversion process on the footage for greater transcoding accuracy of reds to a completely OTT ProRes 4444 editing codec. It may be false and hopelessly erroneous but I theorised that this might help the pp/LUT to reveal its full potential without attempting to unnecessarily cramp or compress it into a ProRes codec with less bandwidth. Anyone else try this?