fs100 skin tone PP

@allupons

What you need to do is do the back breaking and mind numbing testing that I and others have done.

Start with the Knee at 75 then change the Slope setting in increments from -5 to +5. Then repeat for knee settings 80, 85 up to 105. Shoot against a test target with fixed lighting so it doesn't change mid test.

Compare the clips in your NLE taking particular note of the changes to the wave forms. You will see which settings are the best. The repeat the test in different lighting. Each time you are building up a mental picture of which settings are best for certain lighting conditions. That's the secret, painstaking testing to get every last bit of performance out of the camera.

Once you've done that then you can set about taming the colour response and making the image as gradeable as possible. There's hundreds of parameters to test which is why it took me the time it did to develop the profile. It wasn't a 5 minute exercise sweat and tears went into its development to make it as useable as possible.

You won't regret taking the time to do some testing.
 
Even your exposure of the sky the 'blue' has gone to a single flat colour with no contrast - no dark clouds or light ones - you can therefore actually see the knee breaking your image.

Would IMO have got a better result with the image at 105 knee and stopping down a couple, its not like you saved the windowframe with the 95 nee version - it went black anyway and with a steeper knee it will go more black.. but there is no such thing as more black, only black
 
Oh, I don't disagree with a single thing you are saying. I was only testing Nirv's statement that "With a slope setting of 0 and knee of 90 you'll never get to 109. I no longer have a camera so I cannot check but I would think you'd get a bunching up of your highlights just over 100 ire with those settings. As you open up your iris watch how the highlights clip just over the 100 line i.e. you'll see an abrupt peak appear and that's highlight detail being lost." I believe (and I could be wrong) that he was insinuating that the highest possible slope is best in order to get as much detail as possible (up to 109 ire) and thus the most latitude. I was only saying in my observations, a knee of a bit under 100 seems to actually capture more detail (up to 109 ire) than the knee point of 105. Also, even with my settings when the highlights do blow out completely, it takes place above 109, not at just above 100, and so plenty of detail in 100-109 seems to be being preserved.

Regarding your sample shot, was that recorded with an fs100? If so, do you use a profile that avoids banding more than others? I always figured banding (especially that is revealed when grading) was more due to compression in the codec and the nature of AVCHD 420 moreso than the picture profile. Can you elaborate on your profile and how it avoids banding that other profiles would otherwise introduce given the same codec and color space compression?
 
That image is Im afraid taken with a 5d2 .. in stills mode

My FS100 does not band until you grade it.

Most of my personal work on profiles has been to avoid colour shift on the the highlights .. which I think are what induces banding - hence my like of 105 knee

I then boost the black to bring back my usable DR, swapping a bit of shadow noise for yukky flouro highlights

nirv (afaik) has a slighty different methodolody in that he likes to protcet the highs with exposure

I shoot in such varying situations that I am expecting blown specular highlights..

Right profile for the right shooting style

S
 
I don't think you can usefully prescribe a knee point without mentioning slope setting too.

Using 105 and slope of X just gives "video-y" highlight performance that the FS100 has been wrongly fingered with.

The knee only breaks the image if it is set too low and too flat. If it is to flat there are zero graduations which leads to posterisation, ugly banding and flat expanses of zero detail. Just like the Zacuto FS100 highlights.

Anyway I get the impression we're just going over old ground so I'll stop.
 
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