I’ve received the following info from Canon inc. Japan: The movie color conversion matrix (RGB -> YUB) for the EOS-1D X and 5D mark III has been changed to BT.709 (sometimes referred to as REC.709) for Full HD and HD movies (On previous EOS products it was BT.601). SD movies remain as BT.601. Therefore it is recommended that editors use the new version of the EOS MOVIE Plugin-E1 for Final Cut Pro (Ver. 1.3) that supports a BT.709 color conversion matrix when using Final Cut Pro 6.x/7.x for editing. What does this actually mean? BT.709 is a broadcast color space that uses RGB values of 16-235 (rather than 0-255 as per a still image). It is the standard colour space for HD footage. The downside is that if not properly converted (i.e. converting 5D III footage to ProRes for editing) footage will be more susceptible to gamma issues with NLEs than the 5D mark II was. This will result in “crushed” blacks (dark areas without detail) and a darker gamma on a computer screen which uses a 0-255 color space. If transcoding with software other than the EOS-movie plugin (such as 5DToRGB) set the gamma to 1.22 to get the correct display of tones. Basically so far Canon HDSLR’s did not conform to the BT.709 standard which is “recommended” for HD. While color spaces are mostly confusing and a cause of trouble for less broadcast experienced editors the fact that the 5D mark III now conforms to this standard makes it more easily acceptable for HD broadcasters. Download the new EOS MOVIE Plugin-E1 V1.3 here: LINK More info on REC.709/BT.709: WikipediaRead more
I just got off the phone with BBC freelance cameraman and HDSLR expert Johnnie Behiri who recently did some tests on the CineStyle picture profile. I told him I had already had a hard time understanding the whole log, lut, linear stuff with the Arri in Januar and he said something like: “What? Come on, it’s very simple.” Ok, I was good in maths but this stuff took some time to settle in my brain. If you’re like me and all this is a bit confusing I’ll try to sum it up once more and real quick: LOG (logarhitmic) capture modes, such as the new CineStyle by Technicolor for the Canon 5D mark 2 (also works for other DSLR cameras) are designed to preserve image information rather than look good as is. In other words a LOG capture mode uses the whole dynamic range of your sensor and stores the info in the most efficient way (which is logarhitmic), no matter how ugly that result might be. We DSLR filmmakers don’t care about that “flat” look as long as we get as much as possible out of (or into) the 40mbits of H.264 compression of our cameras. In professional filmmaking on so called digital cinema cameras they have been using these LOG modes from the start in order to get best results. Also analogue film captures logarhitmically if you care to know, so it seems to make sense to go through all this. To make our lives easier in post production we apply a LUT curve to our unnaturally flat looking “raw” material. Basically it’s an inverted curve to your CineStyle curve, to make the curve linear again. So this converts our logarhitmically recorded footage into a more natural looking linear image again. Histograms: histograms via unem.de If I still got something wrong, you’re welcome to correct me in the comments. Test by Johnnie: Many members of this board have tested, compared and evaluated the new Technicolor picture style. The best way to sum it it up is probably: It works. You can follow the discussion here. Here’s another test Johnnie Behiri did this week. We had very nice weather in Vienna so he had bright sunlight which was good for the test. “The idea was to see first hand how the new picture profile is helping the camera to cope with highlights/shadow + how skin tones look before and after utilizing the LUT.” Plain CineStyle without LUT (logarhitmic image): CineStyle with LUT (linear image): Side by Side: You can DOWNLOAD THE TECHNICOLOR CINESTYLE HERE Here are more C5D articles on the Technicolor Picture Syle: New: CineStyle LUT now compatible with Apple Color First tests: Technicolor CineStyle Technicolor Picture Profile / StyleRead more
Young videographer Zech Williams did some tests on the new Technicolor CineStyle that Technicolor made available for download yesterday. On Zech’s Blog you can read Zechs full article and evaluation between other flat Picturestyles and the new Technicolor CineStyle. Apparently the CineStyle did good and was his first choice on all the tests he did. More and more info and very valuable posts gather in our big CineStyle sticky. Thanks for keeping it tidy and professional! Click the comments link below to access said topic.Read more
Here’s the Technicolor CineStyle Picture Style. A picture profile for your favourite Canon vdslr (meant for the 5D but apparently also works for other Canon dslrs) that squeezes your usually linear video signal into a logarhythmic logC curve. If you don’t know what’s going on let Josh explain and if you’re still clueless you might wanna check out this nice lesson on LUTs (lookuptables) by Mitch Gross from AbelCine. TechnicolorCo announced through their twitter account that the CineStyle download would be postponed as you read here on Tuesday. It seems this information was not right. DOWNLOAD THE TECHNICOLOR CINESTYLE HERE and afterwards check out and contribute to our CineStyle knowledgebase (the forum discussion button below)Read more
Technicolor postponed the release of their “CineStyle” which they had announced earlier this month and advertised during NAB 2011. The initial timeframe of “later this month” has now been changed to “We are targeting a release in the coming weeks but the date is not fixed!” UPDATE: Although TechnicolorCo had announced through their twitter account that the CineStyle download would be postponed, the CineStyle has become available for download yesterday: CineStyleRead more
We only send updates about our most relevant articles. No spam, guaranteed! And if you don't like our newsletter, you can unsubscribe with a single click. Read our full opt-out policy here.