![]() Driftwood LUT is a direct tone mapping of rec. Tl dr: make decisions based on test footage comparisons, not what internet geniuses say. Ive not tried the Leeming LUT One yet, but I did give HLG a trial run on my GH5 with the Nick Driftwood LUT (which converts Rec.2020 to Re, comparing results with CineD and other profiles using FCPX 10.4. It's funny that the G7 stands out so much against the other seven cameras and the 1/2.3" BSI CMOS camcorder looks so much better than the other six because it's actually a brand new Panasonic 4K consumer camcorder while the other cameras are 720p/1080p only. During this video test, Ive checked Panasonic fo. We constantly hear about how sensor size is such a huge deal and how bigger is always better, yet G7 video consistently seems to make Canon APS-C camera video look mediocre.so I grabbed all the cameras I could find lying around and shot video with every single one, but I didn't reveal the camera used for each shot until the end. Watch Panasonic G7 video 1080p 60fps Cinelike D profile Pre Leeming LUT One settings with14-45mm lens test. One example of test footage I shot is this video that compares sensor sizes in a casual way. Test footage is always my gold standard for making my video decisions nothing tells you more than comparing your changes using an identical subject. The library includes three separate LUT format variants, each offering the same appearance but used for different purposes. It's a quick test and shouldn't take long. Get the Look You Want The VariCam LUT Library includes 35 3D LUTs, providing options in display Conversion LUTs as well as artistic look LUTs. I'd be interested in seeing what you think. The NR -5 footage in my testing looks better even when pushed way too hard in this way. Scrub through the footage on each, looking at the "dancing blobs" in darker areas. ![]() Everything is yellow and while you can push it around with color wheels to an extent, skin tones still look unnatural. I'd like for you to shoot three test shots in low light of the same static scene, ISO 800 or up, under-exposed a bit, and with NR -5, 0, and +5, pull each into an editor, and apply a moderate brightness increase, a heavy contrast boost, and a moderate gamma boost. Basically, weve found that color out of the G7 is problematic. ![]() With NR -5, the added noise reduces the amount of damage done by the video compression, plus the noise on the G7 is somewhat visually appealing even at ISO 1600 whereas Canon sensor noise is colorful and starts to noticeably detract from the image by ISO 800. I took a shot of a recording studio at NR +5, NR 0, NR -5, and then I aggressively boosted the contrast and gamma until I could see the compression banding and macroblock artifacting (we're talking way further than what you'd do for actual footage unless the footage was all crushed on the left 10% of the histogram). Noise reduction -5 is also a recommendation based on some test footage in low light at ISO 800 with the kit lens. I prefer to have a little more color available than a little less because that extra color difference detail never comes back once gone but can always be thrown out later if desired. I did some tests and Standard produces very slightly stronger colors than Natural and it looked better to me in my test footage when brought into the computer. ![]()
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