Made a new killer FS100 Picture Profile

alaskacameradude said:
I bumped down the exposure (via ND) and bumped up the black level, and started seeing detail
under the tree, which had previously been 'crushed' so that it was just total black. It was crazy, I didn't realize the dynamic range this litte
guy has.
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The black level doesn't change the dynamic range it just sets the black level reference. A black level of -15 and +15 don't change the amount of blacks recorded. The DR of the camera is affected by the knee and slope controls and making sure they're set right for the gamma curve you're using.

I have been saying for a long time that people should "use the force" as far a blacks are concerned. Protect the whites from clipping and the camera will take care of the blacks even though the LCD will look like the blacks are clipped, they aren't. Raising the Black level just makes them more easy to see on the LCD.

The Zacuto shoot would've shown the FS100 to be one of the leaders of the pack if the operator there had shot to protect the whites rather than allowing them to clip like he did.

I can't stress this enough, protect your whites and the blacks WILL look after themselves even if the LCD says otherwise.
 
AtticusLake said:
From what I can see, if you have any whites over 100 IRE in your clip, Lima Corrector will clip them, regardless of what settings you use. I think it is safer to use Fast Color Corrector. See:

!
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I thought that was the Brightness and Contrast control. On my system the Luma Controll does no such thing.
I look into Resolve and Speedgrade today, to see what they are making of it.
 
Hi Frank

Firstly thank you for your contribution to the community. I still maintain that you have produced some of the best work out there on a sub 10k camera. You take the "video" look right outta there, and show us its about the user, not the camera.

I second that you should've been given a FS700 by Sony! We need your touch! AND that you should've represented the FS100 at the Zacuto "revenge" shootout.

Would this new PP apply to the FS700?

Many thanks.
Justin
 
I think what I like hearing about this PP is that it's great for daytime and it also doesn't show much noise as you film into the night! From my tests, it seems like it could be a one stop shop PP which I love!
 
Postmaster said:
Nope, the Hypergammas (especially 4) are already getting the most out of that sensor.
As long as Sony isn't providing S-Log for the 700, it's not getting much better, than it already is.

Frank
Click to expand...

Thanks Frank. Maybe a suggestion for the knee to achieve smoothest possible highlight rolloff?
 
Jusgorilla said:
Thanks Frank. Maybe a suggestion for the knee to achieve smoothest possible highlight rolloff?
Click to expand...
As soon I have my hands on a 700 the next time, I look into it.


roblc12 said:
Just wondering what the name is for your new picture profile? "G-LOG Ultimate"?
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G-Log was the first PP I did, this is the new evolution. I could have also called it MKII, FAT or Susy - names are just that, names.
 
I know, but he modified it.

Den is usualy a good FS100 shooter.
Don't know what happed, but the FS100 should have looked way better.
 
Postmaster said:
If you ever looked as a S-Log or Arri Log waveform or RGB parade you can see that most of the data lives between 20 and 80 IRE.
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Frank,

Something I don't quite get: if I understand correctly, what you do in your NLE is just bring everything down evenly so that the scopes touch the zero IRE line (no stretching) - but if so, wouldn't you end up with 0-60 IRE? Which cannot look nice?

I'm asking because I don't use Premiere, and am uncertain which luma control I should use in Vegas Pro to get the effect this PP is needs in post (would it be the most basic brightness in "Brightness & Contrast OFX?)
 
I have almost zero Vegas experience, so I guess I'm not much help here.
But I guess Vegas has also a tool, that shift all the levels up and down the same time, without stretching them.

And yes, after this operation you end up with something like 0-60 IRE.
Mostly it doesn't look that bad - that's what most feature films look like, most of the time (there are exceptions) - besides really shiny objects like chrome or lights.

But this is only a "first light" correction - I grade from there and adjust the levels and look to my taste.

Frank
 
Hmm...

What I'm getting is a beautiful image with perfect highlight roll-off (finally the foliage doesn't turn yellow in the middle of summer) - but I already have it almost perfectly between 0 and 100... Do not see the 20-80 IRE effect. Will go though all the settings for double checking, but since I like what I get, I'll certainly keep it - thanks!

Piotr


PS. Oh, and yes - in VP, the Brightness&Contrast FX can be used for luma shift
 

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I think the results I get, have a lot to do with my lighting style.
I try to keep everything within 5 or 6 stops, whenever possible and expose to the left side - i.e. darker as it actually needs to be.

But I'm glad it works for you anyway.

Frank
 
Frank, the reason I didn't get exactly the results your're touting is indeed exposure - this first trial has been with my FS100 on Glidecam, hence I didn't have the control over blacks you are using. But I must say that this sort of shooting, the profile is also awsome in how it handles the highlights; it remains me of the Cinegamma 2 on my EX1 which also didn't require much tweaking in post, and guaranteed everything is within the legal limits. So by accident I have found another application of your profile - under uncontrolled lighting.
 
Frank,
Thanks for posting this latest profile. Your effort and selfless sharing of information shows what kind of person you are. Your articulate, yet humble explanations to people make this forum a better place.
 
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