New Technicolor Profile Is Amazing

this makes bright areas overexposed and turns them into white hole ,IMO curve should be your own and it depends what you aim for in given scene,i didnt found a way to bring up details while maintaining all information in highlights,adding contrast is crushing highlights.
With neutral and contrast -4 i can add details in the middle by lowering gamma without crushing highlights.
And codec noise from macroblocks in dark areas is exactly the same as in other pic profiles,its still there if you add contrast and pure black will appear.
 
Last edited:
Thanks everyone for your help, I will try to do a video on this soon and talk about the "LUT curve". :)

Dave
 
bwwd, what might not be apparent from my graph is that the Technicolor CineStyle is taking more data than would normally fit into the 8-bit space and sloping both ends to fit more information in.

You know how the Standard picture style with contrast and saturation at 0 looks more contrasty than the Neutral picture style with contrast at -4 and saturation at -2? Well, it's the same type of jump going from Neutral to CineStyle.

Picture styles are at a point in the signal processing chain before the signal gets dropped down to 8 bits, and before it hits the codec. The picture style has the full range of the camera sensor available to it on the input side, but must squeeze it down into 8 bits per channel on the output side. What CineStyle does is to map more than 8-bits worth of input latitude into 8-bits of output data by using these curves.
 
bwwd said:
this makes bright areas overexposed and turns them into white hole ,IMO curve should be your own and it depends what you aim for in given scene,i didnt found a way to bring up details while maintaining all information in highlights,adding contrast is crushing highlights.
With neutral and contrast -4 i can add details in the middle by lowering gamma without crushing highlights.
And codec noise from macroblocks in dark areas is exactly the same as in other pic profiles,its still there if you add contrast and pure black will appear.
Click to expand...

brights are more difficult to recover in digital, so most pros I have talked with always recommend underexposing 1/3-1 1/3 stop.
 
marlontorres said:

Downloaded the new Technicolor Cinestyle preset for the 5D Mark II today and tested it out on the field. I compared it to the Neutral Preset and the Super Flat (0, -4, -2, 0) Preset.

I love the preset. I get details in shadow areas that not even the Super Flat setting can achieve. Safe to say, it will be the new preset I will be shooting all my projects from now on.

I've made the video downloadable in full 1080p for those of you who want to see it in full res
Click to expand...

Hi Marlon, how did you color graded? I love the colors after using cine
 
In reference to the questions about ML and CineStye. I don't know what causes this, but some people (myself included) don't have the option to change color profiles in video mode with ML turned on.
 
natums said:
In reference to the questions about ML and CineStye. I don't know what causes this, but some people (myself included) don't have the option to change color profiles in video mode with ML turned on.
Click to expand...

Boot up your camera without Magic Lantern running. Either by pulling the SD card out, or (on newer versions) by holding down the shutter halfway at boot time. Then go to the user defined picture style definitions in the menu, and for at least one of them you then have to go in and set it to use CineStyle inside of the camera menu.

Once this is done, shut down the camera, and boot back in using Magic Lantern. And remember to use 160, 320, 640, and 1250 for your ISO values. Hope this helps!
 
natums said:
brights are more difficult to recover in digital, so most pros I have talked with always recommend underexposing 1/3-1 1/3 stop.
Click to expand...

This is true for most digital cameras. They have a much lower noise floor than film, but clip much harsher. This cinestyle allows us to use that awesome noise floor. Just expose so that you don't clip (if you can help it) or don't clip important things within the clip.

if you clip, there is virtually nothing you can do to recover it....
 
yes but whats clipped its clipped ,but bright areas turn into clipped white when you turn back contrast to bring up details from this washed out image.
 
AriG said:
The problem was - and is - that ML in MOVIE MODE does not register Picture Style names. one just sees "picture style 1" (or 2 or 3) without the names (you have to switch to picture mode in order to know what PS you are at)
Click to expand...

Picture style names won't appear in ML menu, but they will show up in Canon's picture style menu. Which is the same, with or without ML. So I still don't understand why you have to take out the card before installing a picture style. I did install this picture style with ML card inside, and it worked from the first try.
 
bwwd said:
yes but whats clipped its clipped ,but bright areas turn into clipped white when you turn back contrast to bring up details from this washed out image.
Click to expand...
but clipped in camera with the 8-bit signal in the H.264 is different than clipping in in, say, ProRes 422 (10bit). You can pull that detail that you retained. Some may still clip, but if you use the waveform you can try and minimize it.

EDIT: not really different so much as it has more gradations so the clipping is smoother
 
bwwd said:
With neutral and contrast -4 i can add details in the middle by lowering gamma without crushing highlights.
Click to expand...

+1
Neutral w contrast -4 is a good option about half way between Neutral and CineStyle. Just because CineStyle has more information doesn't mean it will create a better looking image all the time. In certain situations CineStyle will be a better choice, but not in all.
 
I cant bring back contrast without clipping bright areas,only way to preserve whole dynamic range is to crush the dark range until darkest colour would be black not gray.With neutral and contrast -4 i can bring back contrast without clipping bright areas,i just move gamma curve and bend it down then i see how details on faces starts to appear but this trick doesnt work with cinestyle,whole picture is still washed out and non detailed and its just darker.
 
robotsound said:
Here is the exact Technicolor CineStyle LUT curve, represented in a 256x256 grid. To generate this data, I wrote a small Perl script to take the numbers from the LUT and plot them on a graph using the Image Magick library. Therefore, this is as accurate of a visual representation of the LUT as you can possibly get.

If you don't have LUT support in your color grading application, or don't want to use the LUT, you can get pretty much identical results by setting a luma curve with the slope shown below.

View attachment 33710


Enjoy!
Click to expand...

anyone use this on Sony Vegas/ if so , anyone have any CC tips for Sony Vegas?
 
JoeJITSU said:
anyone use this on Sony Vegas/ if so , anyone have any CC tips for Sony Vegas?
Click to expand...

I'd be looking for the same tips for Adobe CS4 premiere and AE. The free Red Giant download also requires other software support I don't have.
Thanks
 
Just use the built in Curves filters in Vegas, Premiere, and AE. Make the curve in whatever application you're using look like the graph I posted. That's basically all the Technicolor LUT does. You can recreate the effects in just about any editor or color grading system just using simple curves. You don't need extra fancy software to do this.
 
robotsound said:
Just use the built in Curves filters in Vegas, Premiere, and AE. Make the curve in whatever application you're using look like the graph I posted. That's basically all the Technicolor LUT does. You can recreate the effects in just about any editor or color grading system just using simple curves. You don't need extra fancy software to do this.
Click to expand...


I tried the Luma curve in Premiere and the graph is so small it's difficult to fine tune. Is there another way to create a more finely created curve, or wouldn't the Luma corrector provide the same function. Controlling by the numbers and fractions of numbers maybe more accurate, consistent and repeatable. Any suggestions appreciated.
 
Last edited:
This new profile looks interesting. I was particularly amazed by the Zech's Camera article where he was able to save a usable shot from the massively overexposed shot of the car, while the superflat version became a mess.

Do you need to expose this profile differently from the other profiles like neutral, or do you expose like normal and it just gives you more range in post?
 
You must log in or register to reply here.
Back
Top