ColorGHear [PART 2]

shian

SOLID and LIMIT V-log Interpretation LUTs are now available for download and testing on the Pro Users page.

SOLID is just what the name implies. A very solid true interpretation, placing middle gray at around 45 and retaining the full spectrum of color.

LIMIT moves middle gray up closer to 50, and clamps the highlights. You may notice some chroma blocking using this one on gradient skies with wide DR, but on everything else. It should work fine.

These may not work under Premiere Pro and Speedgrade yet. Tested in Resolve and AE, and FCP-X.

olli66

cool. looking forward to it

shian

reposting cuz it is now more relevant than ever with the release of V-log. ColorGHear allows non-destructive grading of your 8bit footage. I've defied what everyone said about the GH2 and it looks like I have to do the same again regarding the GH4 and V-log.

Mckinise

I would personally like new videos talking specifically about the GH4. An exposing in the Zone V-Log Sequel and a V-Log L color correction and color grading video.

shian

And you will get them. I'm in the process of cleaning out my garage so I can shoot extensive tutorials on the subject in various lighting scenarios and the now dreaded white wall/ gray wall.

shian

The LUT total is up to 5

SOLID should be the 1st one you reach for.
LIMIT is second, raises mids, and clamps highlights
GENTLE is very subtle, doesn't stretch the H and L's out too far from the middle
WRANGLER is for white walls and sidewalks, etc. Still not perfect but an improvement
VARIABLE leaves the saturation alone and allows you to move it up or down on your own, cuz increasing or decreasing it causes a chroma shift. Almost like the tint slider in Photoshop.

Remember these aren't a drag-and-drop-and-then-you're-done solution, these are to give you better starting points for grading.

They are available on the Pro Member page, and come standard with the Pro LUT package. Tutorials for how I use them are coming.

shian

Remember the GH2's infamous "green shift" that would be baked into the footage, and we all wondered why the footage came in that way? Well, it looks like it was all part of the color science that made the GH2 so awesome. And it's back with V-log.

After spending time with the Alexa curve which is almost identical to the V-log curve but gives it that oh so familiar green tinge to the image. I think I discovered why that tinge was there in the GH2. This interpretation helps greatly mask the blocking. So now the trick is eliminating the green without the blocks jumping out, and without darkening the image.

Luckily for you guys the Minus Green and Green Kill LUTs work perfectly in this capacity just as they did with the GH2.

ALEXA C-log

EASY which is my own take on Alexa's curve but with Minus green applied and a very very subtle mid boost.

Using C-log and adding GreenKill or Minus green will give you similar results only without the gentle mid boost.

https://www.flickr.com/gp/76276262@N04/1DQ128 end of the roll for higher res

shian

Has anyone tried the new CG Pro V-log LUTs on their v-log footage, or... any footage for that matter? Just curious if it's working for you guys.

shian

Holiday pricing is in effect

CG Pro $50
CG Pro Plus $75
Upgrade from CGT to Pro Plus for $20

http://www.colorghear.com/store

adamquesada

@shian CG for AE has been our main grading tool, I will try PRO for PP! Thanks for the sale.

shian

Cool let me know what you think of it.

It's also a beast inside Resolve. So once you make that move, your workflow won't change, and you'll get the same power.

shian

@adamquesada I finally got around to playing with PP 2015 and you won't need to install LUT Buddy to be able to use CG Pro - the tutorial is the same, but you can apply LUTs directly to adjustment layers from Lumetri.

Don't know if you can import the whole CG Pro package into a preset folder yet, but maybe @rNeil knows.

hellrazor

@shian Used your Solid LUT (and also the green kill) the first time some days ago on GH4 vlog footage and am pretty happy for this first result! Not perfected, but hey, its just a vacation vid ;)

rNeil

@shian

The way the Lumetri panel/workspace works in PrPro 2015, the "Basic" tab will take any type of LUT, whether CUBE, Look, itx, ilut, whatever. There's a way to get your LUT's easier found within that than the full navigate-to thing, but I don't have PrPro available at the moment, so can't answer that. You can always navigate to the folder you have your Ghears in. They'll all load fine.

And to get them usable in the Creative tab's "Look" drop-down, you need to open SpeedGrade with a "clean" totally unadjusted clip on the timeline, use the " + " icon below your layers palette to open the pop-up window and choose "Film" ... which brings up the LUT options ... and use the three little dots to the right of the drop-down LUT box to navigate to your folder of Ghears.

Apply one to the clip, then save as a Look file ... copy that Look file to the right folder in PrPro, and it's now available as a Look on the Creative tab. I have the whole process down on a post in the last couple weeks on either the Editor or Grading thread here ...

The one thing to realize is PrPro applies the actions to the clip in a sequential, top-to-bottom manner. So ... you apply a Ghear via the Basic tab, EVERYTHING you do past that in Lumetri there will be done after that Ghear.

In order to get things in the right order, sometimes you need to use the Effects panel, and use a couple instances of the Lumetri panel putting things in ... and then doing things above or below them ... to control how you want effects layered.

Neil

zcream

@shian A question regarding Skin Tone LUT, Minus Green and Green Kill. I have greenscreen footage, not well lit. I do not want to use keylight to reduce spill as the green channel is also luma. And spill reduction darkens the image, basically removing from green.

Do you use the green channel to fill in the noisy Red and Blue channels in any of these presets ?

shian

GHrainKiller uses an algorithm to reduce blue and red noise. The tutorial explains it all.

zcream

I went through the tutorials - the ones on the website right ?

I used to denoise with NeatVideo and then process the chroma with Keylight. Should I replace NV and go MTS -> GHrainKiller -> Keylight ? Also for spill shall I add Minus Green or Green Kill. So MTS -> GHrainKiller -> Keylight -> Minus Green or Green Kill

I just want to make sure that I am not losing information from the green channel, when I do minus green or green kill.

shian

I don't think Greenkill works the way you're thinking. It compensates for the universal green cast on the GH2. It's not a spill suppressor. If you're using it with greenscreen apply it AFTER collapsing/nesting your layers

GHrainkiller works better than NV [IMO] in that you can adjust how it selects and eliminates noise in various channels. But it is slower.

but no, there's no loss of green data by using either GK or GHrainKiller.

zcream

There is a luma vs saturation curve in resolve. And a desaturate highlights filter in fcp7. Can something similar be done in ae? Not just desaturate but a knee rolloff so all colors end.up as white and black.

shian

Play around with the hue/saturation panel... it does a lot more than people realize.

zcream

I did. I could not achieve the same effect. I was looking for a knee rolloff to white in the highlights.

shian

What I've tried to teach in the CG film school, but put into much better words than mine.

http://www.hollywoodreporter.com/behind-screen/cinematographer-vittorio-storaro-warns-major-899691

Vitaliy_Kiselev

You mean this

that “people want to work faster or show that they can use less light, but they don’t look for the proper light the scenes needs. That isn’t cinematography, that’s recording an image. ... I was never happy in any set to just see available light,”

Or what exactly?

shian

all of it

matt_gh2

Interesting article @shian. Thanks for posting. I find it interesting that people (producers and audience members) have higher tolerance/acceptance of mediocre cinematography in movies. I wonder if people watch so much YouTube video shot off phones, that they're basically really okay with anything visually.

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