Canon-Technicolor 'CineStyle' DSLR Picture Profile Now Available as a Free Download. The previously announced Canon-Technicolor joint picture profile, “CineStyle,” is now available for Canon DSLR shooters as a free download. We’d heard from Technicolor that the picture style would allow for greater control and latitude, but the question on everyone’s mind is, how much can a picture setting do without changing the limited 4:2:0 h.264 codec? I haven’t put it to the test myself, but crooked path films did: The official CineStyle flat picture style looks better to my eye than some of the user-made files out there, but it’s still constrained by the color space and codec. However, in over- and under-exposure tests, the Technicolor profile holds sharpness much better. Also see some tests from Vincent Laforet.
Check out the user guide (PDF link), and download the picture profile here: Link: Technicolor CineStyle [via Cinema5D] Related Posts. LiveGrade: Powerful Solution for Look and Color Management on Set. Products - Magic Bullet LUT Buddy 1.0.1. How to Use a DSC OneShot Color Reference Card – Raise the Quality of Your Video Productions | Tom Parish.
Art Adams says, “Shoot a reference that the colorist can quickly dial in so he/she can spend more time finessing your look and less time trying to do damage control.” If you want better-looking video and a smoother ride for your colorist, seriously consider listening to this podcast and getting one of the OneShot Color reference cards from DSC or SMPTE. The creator of this unique card (Art Adams) talks about how to use it in your production and post workflow to improve the quality of your productions. The use of color and properly balanced color are what separate you from the pack of others out there shooting and competing for the same jobs. Let’s face it, when you’re shooting, sometimes things just go wrong in regard to lighting and settings on cameras.
Happens to everyone. It’s true you can fix many problems in post, but do you want your colorist fixing problems or spending time doing the more refined quality color work on your project? Questions: - But why THIS particular card Art? Speedlooks by LookLabs - the world leaders in color grading & color workflow. "I just wanted to thank you guys for answering all the questions I've had in the past and making such awesome luts!! Your luts have helped transform my videos into professional looking films. I'm having a blast mixing and matching different luts to get different looks.
You guys rock!! Keep up the good work and know u have a customer for life. "OK, SO YOU MADE MY DAY! "The tutorials were really helpful, I bought the 4 pack of Grades for Resolve. "Thanks so much for issuing such a fantastic product. "I must say, SpeedLooks is great. "I've just used your looks for the London workshop and people were very impressed. Color Hunter. Scratch FX Film Garbage clips | ICA/International Colorist Academy. In 1988 we didn’t have still stores to grab reference frames. We used to record a section of film to 1” videotape manually, I would then cue this for the colorist and he would use a vision switcher to compare the live film with the tape.
Directors often asked me to put the VTR into record and just ‘play’ with the film. This meant spooling the film fast, running it off the machine showing the sprockets, and the tail fogging. I liked the effect so started keeping the recordings. “Scratch FX” was born. As a roll of film got loaded into a camera the tops and tails would get exposed, we call this fogging, especially great in Bolex cameras using 100ft rolls. Light leaking into the film magazine also gave great results. My collection was growing so I started looking at ways to expand it even more. So how could I capture film burning in the projector gate. So I purchased an old 16mm projector and jammed that creating a great film burn, which I filmed with the 16mm Bolex. FilmConvert: the Best Film Stock Emulator You’ve Ever Seen. Joe Marine 09.23.12 @ 6:11PM Tags : 5dmarkii, canon, celluloid, cinegrain, effects, film, filmconvert, gorillagrain, grain, plugins, postproduction, red, rgrain, software We’ve said a lot about the digital versus film debate, and a lot of people have a lot of different opinions.
Film still had a technological advantage over digital until really the last few years or so, and now we have digital sensors which can match or exceed film stocks with dynamic range. Either way, with digital sensors being “too clean” for some people who have loved the look of film, there is a program called FilmConvert that takes the color information of specific cameras and actually uses that to determine how a specific film stock could best be represented using that sensor. Click through for some videos of the program in action. From Vincent Laforet’s blog: Some more of the capabilities of FilmConvert: Update: Here is an email from Craig Herring at Rubber Monkey about the DSLR picture styles (thanks to Jeff): Color Combinations | Color Schemes | Color Palettes. Color Palette Generator.