GH4 Exposing V-LOG L

TheTrickster said:
What white balances have you run your LUT through? very interested in the results!
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Daylight, Tungsten, Sodium.... essentially, make sure you white balance in camera and you'll get maximum performance out of any profile, limited only by the sensor and the LUT's ability to handle noise.

Cheers,

Paul :)
 
Wowey zowey, that was the most epic pixel peeping I've ever witnessed :shocked:

Looking forward to your LUT, Paul. Those frame grabs look really good to me after researching GH4 footage for the past few weeks and being overwhelmed with lifted shadows and bizarrely skewed colors all over the place.
 
joe12south said:
I've been curious, Paul, how does a LUT "handle noise"?
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It's a fair question, since it sounds odd to say it :D

This is the part where art meets science. I have built the LUT to be visually accurate, but also considered the noise floor colours that are most obvious to the human eye, and compensated for them.

This is the main reason it's taken so long to develop, to be honest. Getting a colour accurate LUT is as simple as using a colour chart. But getting the noise floor to hide itself is not so easy, without potentially destroying the colours in the mids and highlights.

So I've been doing a lot of night testing to see how colours react and have been iterating until I felt the colour balance was the best it can be while not becoming visually distracting in the noise floor, when lifted.

Of course, push the noise floor too much and noise is inevitable. But my idea has been to build a LUT that both fixes the colour problems of Cinelike D, but also allows for what would be considered normal grading as well as shadow and highlight response.

We don't generally lift blacks to an insane degree in normal shooting, so I can use that knowledge to keep colours accurate in the mids while reducing the colour bleed that causes us to see colour noise in the shadows.

Luma noise is of course present, but as it's not contaminated by rogue colours it looks much more filmic and not at all distracting:

LeemingLUT_One_ISO1600_Noise_Test.jpg


Grab the full 4K uncompressed PNG here to pixel peep! :D

Long answer I know, but that's what I've been doing all this time. Believe it or not, it works.

I'm excited to release it soon!

Cheers,

Paul :)
 
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visceralpsyche said:
This is the part where art meets science. I have built the LUT to be visually accurate, but also considered the noise floor colours that are most obvious to the human eye, and compensated for them.
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Thanks. Makes sense, and I'm glad you weren't claiming a LUT could magically detect and remove noise. ;-) Anxious to try it, could save a lot of time over fixing V-LOG in post.
 
i think, a simple and accurate correction of the cine-d peculiarities would be enough. yes, it would be even even better as a starting point for further processing by oneself. all this additional 'artistic' incrediences make it just harder to use all the possibilities of the camera. it's just the same distortion i hate so much in all this factory 'designed' looks....
 
mash_gh4 said:
i think, a simple and accurate correction of the cine-d peculiarities would be enough. yes, it would be even even better as a starting point for further processing by oneself. all this additional 'artistic' incrediences make it just harder to use all the possibilities of the camera. it's just the same distortion we hate so much in all this factory 'designed' looks....
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Agreed :) That's what my LUT is - an actual Look Up Table to correct the colour deficiencies of Cinelike D. With the added bonus of hiding some of the low end colour noise.

Looks I leave to colourists (I am a colourist too) and those who wish to sell pre-made packs of them.

Cheers,

Paul :)
 
ProRes is compressed. (I-frame compression. RAW to Jpeg for example.) So the magenta must be there somewhere in the RAW that it is magnified going to Jpeg.)
 
10 bit 422 would make a world of difference when it comes to V Log! I have been looking to get the Shogun for a bit now to help decrease macroblocking that tends to happen with an 8 bit color space.
 
jopereira said:
Skin in shoots at rendezvous location look greenish in my (non-calibrated) monitor.
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Calibrate! They look fine on mine (eyeball "calibrated" with color charts).

People often see color different from "standard". Last employment I had, the lab chief and I saw color on different positions on the "blue/yellow" slider which caused no end of minor disagreement. He would tell me skin tones looked cyanotic, when I printed so he felt it was just right most customers felt their portraits looked jaundiced (too much yellow) so I wound up printing in the middle ground.

He'd frown but approve the print for release.
 
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