C300: Cowpunk's Profiles

So Ive merged Brian's custom profile threads and put them in a sticky here. Brian if you'd like to edit post one and put all the profiles in the one post that would be very useful.

Cheers
Noel
 
Brian, I'm walking around the office scrolling through all the new CPs and they're great. I particularly liked having TRUvid2 from your last set of CPs because I often have to deliver footage that I know won't be graded...would you say 709log is a replacement for that CP or does it still require a color pass? How about cineLOG?
 
Noel Evans said:
So Ive merged Brian's custom profile threads and put them in a sticky here. Brian if you'd like to edit post one and put all the profiles in the one post that would be very useful.

Cheers
Noel
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Cheers, thanks Noel. I'll merge them all in one post ASAP!
 
Finnegan said:
Brian, I'm walking around the office scrolling through all the new CPs and they're great. I particularly liked having TRUvid2 from your last set of CPs because I often have to deliver footage that I know won't be graded...would you say 709log is a replacement for that CP or does it still require a color pass? How about cineLOG?
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709log could def be a replacement profile for TruVid. For all my profiles, I try to make any one that uses a Normal (or EOS std) gamma look really great without a color grading pass. However, if the footage is bound for broadcast it's probably wise to throw a broadcast safe filter over it at the final stage before delivery just to cover your bases. Whites don't clip until slightly out of bounds to retain as much DR possible in the norm gamma.

CineLOG can probably go either way; in fact I'd probably be more likely to use it in low-contrast situations over a CINEMA, CINEMA.2, or any log gamma. But again, broadcast safe is always good to throw on if the edit is bound for network.
 
Thank Brian for sharing all of your profiles. If you are ever in RI let me know? I owe you a nice dinner for the amount of times I have successfully used your profiles and made clients smile.
 
Thanks, everyone - I'm very happy that others have been finding these profiles to be useful! I've been mostly using the 709Log, cineLOG, & CINEMA.2 profiles lately, and I'm totally in love with them - especially for great skin tones. I do recommend, however, that you don't be afraid to adjust the G-R setting in the color matrix to your taste. Depending on what you're shooting and color temperature, you may want to bring that down a few points. I've been really happy going all the way down to -6 in some situations and being fluid with it can really help you get some incredible skin tones.

Here's a gallery of grame grabs shot with cineLOG: http://imgur.com/a/cVltJ#0
 
Love these. Just did a shoot with the cineLOG on my C100 and performed much better after a touch up than the Wide DR. Plan to use these extensively. Thanks!
 
remsyatassi said:
Love these. Just did a shoot with the cineLOG on my C100 and performed much better after a touch up than the Wide DR. Plan to use these extensively. Thanks!
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I agree. The Wide DR is nice but the cineLOG and 709log are some really nice Cp's. I'm still playing with them and tuning them to my taste. But they are a great baseline for shooting with this camera. Thanks for the work Brian.
 
Is the reason we're not using the WideDR gamma because of noise? The original Canon WDR setting seems to do a bit better than the cineLOG preset at maintaining smooth highlight gradations. Not a huge difference, but just wondering what the logic is?
 
Nate Haustein said:
Is the reason we're not using the WideDR gamma because of noise? The original Canon WDR setting seems to do a bit better than the cineLOG preset at maintaining smooth highlight gradations. Not a huge difference, but just wondering what the logic is?
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I've just found that the skin tones are a lot more pleasing out of the camera with cinelog. Wide DR always looks a little too desaturated for me, though it is also a nice CP for sure. In high contrast scenarios (usually outside) I flip it over to clog anyways to get most DR. Both profiles introduce noise if you underexpose... I find myself using all log type profiles on the Canon cameras a little hotter than I would on a 10bit log format.
 
This may seem off-topic, but hear me out. I have a couple of questions about creating Canon CP files, and there seem to be experts here. I have a Canon XF100 and have created some custom CP files that have the look I want with no grading except - skin tones are skewed very yellow, especially in lighting that is fluorescent or mixed flo/mercury vapor/daylight, etc. even when correctly white balanced.

1. I notice that one of the CP files here uses Cine1 gamma but one of the Normal color matrix options. I've found (and have read online) that this causes very unpredictable color shifts. I had decided that this mix was the source of my problem. So, it was curious to see it listed here as an option. Is that not a source of problems after all??

2. My XF100 has all those same controls in the Color Matrix - R-G, R-B,G-R, etc. Given that the files here adjust those heavily, I may need to do the same. I have no idea what these mean. Like, what's the difference between Red-Green and Green-Red when making adjustments? Can some one give (or point me to) some info on how these affect the look?

Thanks for any info!
 
ddixon said:
This may seem off-topic, but hear me out. I have a couple of questions about creating Canon CP files, and there seem to be experts here. I have a Canon XF100 and have created some custom CP files that have the look I want with no grading except - skin tones are skewed very yellow, especially in lighting that is fluorescent or mixed flo/mercury vapor/daylight, etc. even when correctly white balanced.

1. I notice that one of the CP files here uses Cine1 gamma but one of the Normal color matrix options. I've found (and have read online) that this causes very unpredictable color shifts. I had decided that this mix was the source of my problem. So, it was curious to see it listed here as an option. Is that not a source of problems after all??

2. My XF100 has all those same controls in the Color Matrix - R-G, R-B,G-R, etc. Given that the files here adjust those heavily, I may need to do the same. I have no idea what these mean. Like, what's the difference between Red-Green and Green-Red when making adjustments? Can some one give (or point me to) some info on how these affect the look?

Thanks for any info!
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Here's a great article by Art Adams to get started understanding what the color matrix settings do in digital cameras: http://provideocoalition.com/aadams/story/geek-out_the_matrix_reloaded
 
Thanks, Brian. Great info that will definitely take several passes to really digest. The video there is excellent also.
 
That Alexa CP is killer. I shoot under a lot of tungsten lighting using the Kino Flo practicals in all the lamps in the location. Great Skin Tones. Any other CP like this one? I don't color grade, I turn in footage as shot. I know I need to learn how but I have no time.
 
surebll said:
That Alexa CP is killer. I shoot under a lot of tungsten lighting using the Kino Flo practicals in all the lamps in the location. Great Skin Tones. Any other CP like this one? I don't color grade, I turn in footage as shot. I know I need to learn how but I have no time.
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Try my 709Log and CineLog profiles - The former is designed to work straight out of cam, and in the case of CineLog, with minimal post color work. Both are based on a tweaked Canon Log color matrix
 
These CP are made for the C300, yes? Has the C100 been tested as well, or is the "& C100" in the title based on "should behave as the C300, since it's basically the same camera...? Thanks!
 
Picture Profiles comnpared

Picture Profiles comnpared

I did a quick video to compare the more popular picture profiles. The camera was not changed in any way, I just changed the picture profiles so you could get a direct comparison.

https://vimeo.com/70417899
 
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