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    #51
    Senior Member R Hudson's Avatar
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    I am no color genius and I am also very mildly red-green color blind so having a setting that is good for "minor" grading is preferable to me. I'll have to do some experimentation. Great thread!


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    #52
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    Quote Originally Posted by R Hudson View Post
    I am no color genius and I am also very mildly red-green color blind so having a setting that is good for "minor" grading is preferable to me. I'll have to do some experimentation. Great thread!
    Every one of the GH4 settings does that, is usable out of camera, *except* for D, IMHO. If you have no highlight blowouts then you can always adjust the color a bit, lift the shadows etc unless you have pushed the ISO too far. D is different, I believe, because you *must* grade it. The idea is it packs a bit more DR into the recorded image which means you then need to do some postprocessing, choose your zones of interest, to restore contrast.

    My take on the GH4 is that it would be nice to have a mode that does real log with more bit depth, sacrifice the 4K for that and use all the bandwidth to get more DR in HD, ideally raw so one can in particular redo the wb in post.

    I would guess that HD raw would be more useful in practice than 4K MP4, and that the 200Mbps this thing can write to card is more than enough for HD or possibly even 720p raw. The detail would suffer with such a mode, but as a documentary camera the flexibility would be unmatched.

    Edmund
    Last edited by edmundronald; 02-12-2015 at 03:31 AM.


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    #53
    Senior Member Bern Caughey's Avatar
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    Quote Originally Posted by Medgyesi View Post
    The difference between the film settings is mainly how bright/dark the mid-tones are relative to - especially - the high lights. Portrait has the brightest mid-tones. Since High Light / Shadow dial is the Mother-Dial - the one that controls High Light and Shadow no matter what else you do, there is no reason to use a flat Cine profile (High Light / Shadow makes all profiles equal in regards to how much you can lift your shadows or lower you high lights in-camera).
    So by using the Cine-settings (especially the flattest one), all you do is underexpose the mid-tones (compared to Portrait). Which is counter productive in post, as lifting of the mid-tones will stretch the shadows (and its noise) into the mid-tones, and the same lifting of the mid-tones will lift the high lights for no reason.
    The Portrait setting is the one that is born with the least amount of noise. By the way, the reason I have set Noise Reduction and Sharpness the way they are, is because I tend to use old lenses. They make nice soft skin-tones and need more sharpening than Hi-Fi lenses.
    Medgyesi,

    Thanks for sharing your settings & joining the conversation.

    Been busy & haven't had a chance to test your settings, but hope to soon.

    I've used a similar setup for stills campaigns shot on 5D3s or GH4s. I like the look of pushing contrast & pulling saturation for some projects where the agency will be reviewing images directly off the camera's LCD but have always done it with Raws where the image can be moved around in post.

    Best,
    Bern


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    #54
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    I like what Medgyesi settings do when shooting 0-255 and then using premiere's fast color corrector and ramping the levels to 16-235. it seems to breath new life ino the footage.
    nature still looks a little blah to me and I have hard time making colors pop (greens and sky/ocean).


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    #55
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    I'm going to give it a try. Cine-D flat settings are so hard to grade. Not that I'm an expert. But maybe that's the problem?


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    #56
    Member Mercatus's Avatar
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    these settings are an absolute revelation for me. the skin tones and highlight roll off are better than i ever knew the gh4 could produce. i can't thank you enough Medgyesi


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    #57
    Member mr.coffee's Avatar
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    using HyColour 1.6 i was able to get a pretty good CC out of these settings on GH4


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    #58
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    So this is my findings so far about the Portrait picture profile.
    It's far to noicey for my liking, it has great skin-color for sure but tooooooo much noice!

    I just stumbled on this tutorial at Vimeo and I think this guy is truly on to something, it's Cine D still but with a great correction for the orange/reedish look we like to hate https://vimeo.com/119985496 but With far less noice.

    I have the Atomos Shogun and for me it's critical to tryst my recordings and the way I capture the scen, but I must address the most important part. It is to white your camera first!!!

    Even if you use the kelvin numbers to dialin your set, the orange/reddish color will still be present , but NOT if you do a proper white balans!!!

    This is most likely the cause why so many people are having problem with there skin tone with the GH4, get your self a proper white balance first then judge the outcome!

    Ps I work everyday in the broadcast industry for a living and we always struggel with new equipment and color problems with different new cameras, but often it's a faulty white balans problem.


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    #59
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    Getting really nice natural skin tones with these settings and a proper white balance. Beautiful with Voigtlanders. Thanks Medgyesi.


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    #60
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    I like what I am getting for skin tones from a CineD variant (-5 sharpness and -3 saturation, highlights/shadows 0/0). I use White Balance Plugin 2 from FCPeffects, along with a little help from the color board. As white balanced in mixed lighting, the shot looks quite blah orange before the cc. I have played around with the Medgyesi look, but I'm pretty happy with this or CineV if I want a good look right off the card (reduced saturation and sharpness helps me in CineV).
    SkinToneCineDvar.jpgSkinToneCineDcc.jpg


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