00:00 - Intro Canon R6 Mark II using Standard Color Profile 00:41 - Pointing out Canon “purple” color interpretation when it is really blue 01:04 - Sony E10 and how the color blue looks 01:24 - Canon R6 Mark II rendering blue as purplish 02:03 - Canon cameras do that purple looking blues for a lot of their cameras 02:14 - Changing color profile from Standard to Neutral 02:41 - Canon R6 Mark II Switching profile to Faithful 03:33 - Canon R6 colors 04:04 - Canon R6 Mark II colors 05:21 - Changing R6 Mark II to a LUT 05:46 - Canon R6 II Clog3 with Canon LUT 06:58 - Canon R6 using Clog3 LUT on Clog1 07:21 - Cheating lol - putting Clog3 LUT on Canon Clog1
The blue light rendered as purple may be due to the IR and UV wavelengths emitted by the lights and the UV/IR cut filters over the sensors in the cameras. I first encountered this with my first digital camera, the Kodak DC290, which didn’t have a UV cut filter over its sensor. When I shot blue jeans or fabric / materials with had UV brighteners with Vivitar flashes which also didn’t have a UV cut filter the colors would shift because the sensor / color rendering the UV reflectance the eye couldn’t detect but the sensor could as a different color. I was using a neutral gray Mac Power PC at the time and the camera would render it as cyan and the color of jeans would shift the same way. So you might try putting a UV filter over the lens to see if that changes the results.
I’m sure you know this but, in CLog-3, you change the color space to BT.2020 and color matrix to Neutral. And then in Premiere, use the BT2020 to BT709 transform LUT. I have a feeling it’s the color matrix thing or the transform lut issue. Maybe R6II only shoots in BT2020 and you need to use 2020 to 709 conversion lut, instead of 709 to 709. Either way, I am curious what the issue is.
You could use luts if you wanted to, but the easier and simpler thing to do is just use Canon's Picture Style Editor and swing the purple hues more over towards blues so that right out of the camera, the JPGs (and video) is more to your liking.
Good idea! But it doesn't make LUTs and it is getting almost impossible to download the software. Those that can grab it and use it, it works okay, not great, and it is getting rare. People were making profiles with these and selling them to the public and I actually bout a couple of them. I wouldn't give it a thumbs up, but people ARE desperate to solve their own situations, but the LUT is the way to go. What makes this unique if Canon had continued to support the picture Styler software is you can "bake in" your desired look and have it with you no matter where you go. The same is true of a LUT to a certain extent but it gets done in the computer and not on the actual camera body. Those that use the Mac are not getting the advantage to use this program. It is something "to try" and if you can get it to wrk for you - you are golden :)
@@PeterGregg I don't know what you mean about not being able to download the software and use it, or no updates from Canon. I've never had that problem, and I'm a Mac user that uses it along with Canon's DPP software. Downloading it and using isn't a problem, at least I've not had one. Canon even does updates and new releases pretty regularly. I've never had a problem with their software not working on my computer, and I use it instead of Lightroom because raw file support is there the day the camera is released. But... LUTS are the way to go if you want to shoot log. If you'd prefer to use the standard profile, I'd recommend starting with the faithful, in the PS editor, then changing the contrast and saturation so that it's basically the ProLost flat profile, then changing the hues in the hue editor if you want the blues to be more blue-green instead of green-purple, but that's just me.
@@AdrianBacon if you have a TH-cam channel make a video on it as I thought about it and Regan into dead ends getting onto my Mac Mini M1. I would be interested in seeing that for 2 reasons, first to see if it works for the R6, and second to see if the blue/purples can be dialed out that way too. I finished a number of LUTs that do the job great. If the Picture Style can do it too, let's get it done, it would help people! :)
@@PeterGregg If I have the time to do it, I'll look into it, though, in all honesty, I've not yet migrated to Apples latest and greatest hardware (still rocking a late 2019 x86 MacBook Pro, which is still plenty fast, and not planning to upgrade for at least another year), though I do have the R6II as my main body and R6 as a backup body, so... yes, it might be a different experience on newer Macs, but so far on the x86 Macs, zero issues, everything works exactly as you'd expect it to, and I'm fully in Canon's ecosystem with cameras, and pro printers, and run all their software. Running the latest and greatest isn't always the best because sometimes you're ahead of where big companies are in terms of support. I don't doubt Canon will release a native version of their code at some point, but that's neither here nor there, none of my computers or printers have reach end of life yet, unlike my cameras where I wear the shutters out after a couple of years.
I found how to download it, but it will not read and raw pictures from the R6 or R6 Mark II so it's a dead end. It seems to accept raw files up to and including the 90D - which that camera is not something I have. If you know more let me know.
If you could keep the reds of the R6Mii and the blues of the R6Mi it would be perfect. The Mk1 is a little over saturated on the reds. Good video Peter.
I'm not sure using the C-log 3 to rec709 conversion lut on C-log 1 footage is a good idea, as each log profile expects middle grey to be exposed differently. Also, my old Canon C200 always showed orange led lights as megenta, and I've had the blue lights looking purple on other Canon cameras. If you change the colour matrix option from neutral to EOS original it fixes it in some circumstances, but not others. I'd recommend playing with that setting rather than mixing log formats and conversion luts. Interestingly, my Canon C70 seams to deal much better with background led lights, but it's definitely wiered how Canon cameras specifically can skew the colour of led lights.
Peter, For your studio setup could you please tell us what the color temp of your facial lighting is? You may well be seeing color shifts due to mixing both color temps of the lighting on your set and the poor emission spectrum of certain LEDs. It is possible that the LUTS chosen by Canon for the new sensor in the R6 Mark II has a different response curve than other sensors. The obvious red shift in facial tones between the two cameras suggest that the LUTS are significantly different. Finally, have you done a custom gray card white balance ? You showed the adjustment of the camera profiles but never discussed using a custom white balance. As someone who shoots Rotolight lighting products I have found that correct WB is essential with LED lighting and that's especially true when using mixed color temp lighting sources. All the best
Thanks for the video, Peter. I noticed the purple blues when messing around with some NanLite Pavotubes. Good to know it wasn’t just me experiencing this!
Nikon cameras have the same problem. I would be a happy camper if any camera would match the colors that I see. I wonder if one camera is 8 bit in video mode on the R6 compared to the 10 bit on the R6II. Cheers!
Very Interesting - I'd love to look at how the camera handles all the colour spectrum. I often have trouble with LED colour but not usually from the camera...🦘
Found this after facing the same with my R6, filming some concerts. HOWEVER, it seems to go away when using the Fine Detail color profile. I cycled through all of them, in video mode, aimed at my phone displaying various blues, and the problem seemed to just go away there. Very peculiar. I'd like to point out another issue since I'm here. I've noticed weird artifacts when filming saturated purples (and a bit with magentas) in CLOG, especially CLOG 3. Gray lines would appear at some edges. I've a thread on Reddit if anyone wants a look, titled CLOG + Saturated Purples = Artifacts? Noticed after filming a Concert with CLOG 3 709
I recall years ago of purple rendering blue for stills in a digital camera. It was a shot of flowers. I don't remember the camera model or brand, but purple can be a problem in my experience.
A well-known problem in the canon, there is always no yellow color in the blue color, that's why the face colors of people in the canon are more pleasing to the eye.
Missing only a certain amount of yellow in the blue color! In connection with the general yellow! The general excess of yellow is caused by a lack of balance. Note that the sky in Canon always looks a little darker. In Nikon cameras the sky is a bright blue. This is an inaccurate translation of Blue, and I think it was done on purpose
Interesting observations, seems odd that Canon didn't observe this anomaly during testing and development. The R6 definitely looks better with more accurate color rendition.
It's observed, yes. Canon puts a premium on facial tones and IMHO rightly so. But those with a little higher or expertise can make the Canon colors "sing" :)
Just a guess from a novice. I am guessing is that LED lights produce exactly one common wavelength of light, while light reflecting from a surface is a combination of wavelengths that when mixed produce blue. That issue might be that exact color of blue. Also, is it the same for all lenses, could a lens coating be shifting the wavelength?
Hi Jeffrey, almost all the Canon sensors do that and that topic gets some buzz about it on the internet. I have been working on making my own LUT and I think I have a pretty close contender. But I think you are right, there is a blue frequency that the Cano sensor seem to react too - it could even be the IR filter they are looking for in their software. It's above my pay-grade to figure the science of it, but the fix - now that's right up my alley :)
I'm pretty sure it has a 30 Minute recording limit. And the camera is on sale right now new at $1599 at Adorama too - you have to use the coupon code to get that price, but they do give you an adapter: Camera with Adapter: howl.me/cjS0M96v0tV and use coupon code CAJUNEDEAL
Excellent production. Very big issue from Canon. As a stills shooter this is a very, very serious flaw! I sure hope Canon will take notice of your presentation.
You think I did something wrong with the audio?? I did this after I woke up this morning, maybe I wasn't fully up to snuff yat?? I listened to it, it sounds okay to me, maybe a touch anemic lol, better take some vitamins lol. Thanks, i like it when people point stuff out I should fix up. Can't change anything this time, but I will listen for it next time. If you know what sounds bad, let me know so I can keep that in my head!!
In Europe this camera costs 3,000 euros. At this price level, NO OTHER CAMERA HAS NORMAL PROFILES 8bit !!!! This combined with the powerful cripple hammer (seems not worth canon customers, to have clog 2) and the BAN ON THIRD PARTY LENSES, clearly points the way to ...Sony or Panasonic...
![ไข้ขึ้นเลย! เมื่อแฝดโดนจัดเต็มวัคซีนครบ2เดือน🤒 [cc] แดนแพทตี้ SS2 | EP.54 |](http://i.ytimg.com/vi/z2VHItnyyvY/mqdefault.jpg)
00:00 - Intro Canon R6 Mark II using Standard Color Profile
00:41 - Pointing out Canon “purple” color interpretation when it is really blue
01:04 - Sony E10 and how the color blue looks
01:24 - Canon R6 Mark II rendering blue as purplish
02:03 - Canon cameras do that purple looking blues for a lot of their cameras
02:14 - Changing color profile from Standard to Neutral
02:41 - Canon R6 Mark II Switching profile to Faithful
03:33 - Canon R6 colors
04:04 - Canon R6 Mark II colors
05:21 - Changing R6 Mark II to a LUT
05:46 - Canon R6 II Clog3 with Canon LUT
06:58 - Canon R6 using Clog3 LUT on Clog1
07:21 - Cheating lol - putting Clog3 LUT on Canon Clog1
The blue light rendered as purple may be due to the IR and UV wavelengths emitted by the lights and the UV/IR cut filters over the sensors in the cameras. I first encountered this with my first digital camera, the Kodak DC290, which didn’t have a UV cut filter over its sensor. When I shot blue jeans or fabric / materials with had UV brighteners with Vivitar flashes which also didn’t have a UV cut filter the colors would shift because the sensor / color rendering the UV reflectance the eye couldn’t detect but the sensor could as a different color. I was using a neutral gray Mac Power PC at the time and the camera would render it as cyan and the color of jeans would shift the same way.
So you might try putting a UV filter over the lens to see if that changes the results.
Great video, Peter. The colors of the R6 really pops!
I’m sure you know this but, in CLog-3, you change the color space to BT.2020 and color matrix to Neutral. And then in Premiere, use the BT2020 to BT709 transform LUT. I have a feeling it’s the color matrix thing or the transform lut issue. Maybe R6II only shoots in BT2020 and you need to use 2020 to 709 conversion lut, instead of 709 to 709.
Either way, I am curious what the issue is.
how can I learn about this colour theory?
Great video as always Peter! Cheers!
You could use luts if you wanted to, but the easier and simpler thing to do is just use Canon's Picture Style Editor and swing the purple hues more over towards blues so that right out of the camera, the JPGs (and video) is more to your liking.
Good idea! But it doesn't make LUTs and it is getting almost impossible to download the software. Those that can grab it and use it, it works okay, not great, and it is getting rare. People were making profiles with these and selling them to the public and I actually bout a couple of them. I wouldn't give it a thumbs up, but people ARE desperate to solve their own situations, but the LUT is the way to go.
What makes this unique if Canon had continued to support the picture Styler software is you can "bake in" your desired look and have it with you no matter where you go. The same is true of a LUT to a certain extent but it gets done in the computer and not on the actual camera body. Those that use the Mac are not getting the advantage to use this program. It is something "to try" and if you can get it to wrk for you - you are golden :)
@@PeterGregg I don't know what you mean about not being able to download the software and use it, or no updates from Canon. I've never had that problem, and I'm a Mac user that uses it along with Canon's DPP software. Downloading it and using isn't a problem, at least I've not had one. Canon even does updates and new releases pretty regularly. I've never had a problem with their software not working on my computer, and I use it instead of Lightroom because raw file support is there the day the camera is released.
But... LUTS are the way to go if you want to shoot log. If you'd prefer to use the standard profile, I'd recommend starting with the faithful, in the PS editor, then changing the contrast and saturation so that it's basically the ProLost flat profile, then changing the hues in the hue editor if you want the blues to be more blue-green instead of green-purple, but that's just me.
@@AdrianBacon if you have a TH-cam channel make a video on it as I thought about it and Regan into dead ends getting onto my Mac Mini M1. I would be interested in seeing that for 2 reasons, first to see if it works for the R6, and second to see if the blue/purples can be dialed out that way too. I finished a number of LUTs that do the job great. If the Picture Style can do it too, let's get it done, it would help people! :)
@@PeterGregg If I have the time to do it, I'll look into it, though, in all honesty, I've not yet migrated to Apples latest and greatest hardware (still rocking a late 2019 x86 MacBook Pro, which is still plenty fast, and not planning to upgrade for at least another year), though I do have the R6II as my main body and R6 as a backup body, so... yes, it might be a different experience on newer Macs, but so far on the x86 Macs, zero issues, everything works exactly as you'd expect it to, and I'm fully in Canon's ecosystem with cameras, and pro printers, and run all their software. Running the latest and greatest isn't always the best because sometimes you're ahead of where big companies are in terms of support. I don't doubt Canon will release a native version of their code at some point, but that's neither here nor there, none of my computers or printers have reach end of life yet, unlike my cameras where I wear the shutters out after a couple of years.
I found how to download it, but it will not read and raw pictures from the R6 or R6 Mark II so it's a dead end. It seems to accept raw files up to and including the 90D - which that camera is not something I have. If you know more let me know.
thanks peter, that s crazy almost nobody talk about colors, hoppely ive just seen your video ! colors is very important for me thanks again
Great information, Peter. I am always researching
for what camera I want, when and if I am able to upgrade. Thank you.
If you could keep the reds of the R6Mii and the blues of the R6Mi it would be perfect. The Mk1 is a little over saturated on the reds. Good video Peter.
I'm not sure using the C-log 3 to rec709 conversion lut on C-log 1 footage is a good idea, as each log profile expects middle grey to be exposed differently.
Also, my old Canon C200 always showed orange led lights as megenta, and I've had the blue lights looking purple on other Canon cameras.
If you change the colour matrix option from neutral to EOS original it fixes it in some circumstances, but not others.
I'd recommend playing with that setting rather than mixing log formats and conversion luts.
Interestingly, my Canon C70 seams to deal much better with background led lights, but it's definitely wiered how Canon cameras specifically can skew the colour of led lights.
I watched your video on a TV before and the corrected R6 image looked strange. Happy to say, on my calibrated monitor it looks great. 👍
Canon usually have a firmware update download later this year. Don't hold your breath Peter! Cheers!
Since log is just a software option, why Canon cripple hammered it out? Why they can't give customers all the options including all-i codec?
Peter,
For your studio setup could you please tell us what the color temp of your facial lighting is? You may well be seeing color shifts due to mixing both color temps of the lighting on your set and the poor emission spectrum of certain LEDs. It is possible that the LUTS chosen by Canon for the new sensor in the R6 Mark II has a different response curve than other sensors. The obvious red shift in facial tones between the two cameras suggest that the LUTS are significantly different. Finally, have you done a custom gray card white balance ? You showed the adjustment of the camera profiles but never discussed using a custom white balance. As someone who shoots Rotolight lighting products I have found that correct WB is essential with LED lighting and that's especially true when using mixed color temp lighting sources. All the best
Thanks for the video, Peter. I noticed the purple blues when messing around with some NanLite Pavotubes. Good to know it wasn’t just me experiencing this!
Really good thanks
Nikon cameras have the same problem. I would be a happy camper if any camera would match the colors that I see. I wonder if one camera is 8 bit in video mode on the R6 compared to the 10 bit on the R6II. Cheers!
As always excellent Content.
Very Interesting - I'd love to look at how the camera handles all the colour spectrum.
I often have trouble with LED colour but not usually from the camera...🦘
Is there a fix for the R6MK2? Can the extra Clog be downloaded or purchased?
Found this after facing the same with my R6, filming some concerts. HOWEVER, it seems to go away when using the Fine Detail color profile. I cycled through all of them, in video mode, aimed at my phone displaying various blues, and the problem seemed to just go away there. Very peculiar.
I'd like to point out another issue since I'm here. I've noticed weird artifacts when filming saturated purples (and a bit with magentas) in CLOG, especially CLOG 3. Gray lines would appear at some edges. I've a thread on Reddit if anyone wants a look, titled CLOG + Saturated Purples = Artifacts? Noticed after filming a Concert with CLOG 3 709
I recall years ago of purple rendering blue for stills in a digital camera. It was a shot of flowers. I don't remember the camera model or brand, but purple can be a problem in my experience.
A well-known problem in the canon, there is always no yellow color in the blue color, that's why the face colors of people in the canon are more pleasing to the eye.
But I've been told by many photographers complain that the R6 Mark 1's sensor/ colours do appear more yellow-ish on their photos/ skin-tones.
Missing only a certain amount of yellow in the blue color! In connection with the general yellow! The general excess of yellow is caused by a lack of balance. Note that the sky in Canon always looks a little darker. In Nikon cameras the sky is a bright blue. This is an inaccurate translation of Blue, and I think it was done on purpose
I like the skin tones on the R6MKii but the blues on the R6MKi
Interesting observations, seems odd that Canon didn't observe this anomaly during testing and development. The R6 definitely looks better with more accurate color rendition.
It's observed, yes. Canon puts a premium on facial tones and IMHO rightly so. But those with a little higher or expertise can make the Canon colors "sing" :)
Just a guess from a novice. I am guessing is that LED lights produce exactly one common wavelength of light, while light reflecting from a surface is a combination of wavelengths that when mixed produce blue. That issue might be that exact color of blue. Also, is it the same for all lenses, could a lens coating be shifting the wavelength?
Hi Jeffrey, almost all the Canon sensors do that and that topic gets some buzz about it on the internet. I have been working on making my own LUT and I think I have a pretty close contender. But I think you are right, there is a blue frequency that the Cano sensor seem to react too - it could even be the IR filter they are looking for in their software. It's above my pay-grade to figure the science of it, but the fix - now that's right up my alley :)
Even your shirt is much bluer in the R6.
I have problem on my R6 the red comes out like orange , still cant correct it
Ever use color space transform in davinci ?
Well I notice on the canon you have the white balance at 2900 K. What was sony set to ?
what happens when you place actual purple lights?
Works great! Finishing up my own LUTs in the next day or 2, what a nice difference!
I thought there is no recording limit for r6 original
I'm pretty sure it has a 30 Minute recording limit. And the camera is on sale right now new at $1599 at Adorama too - you have to use the coupon code to get that price, but they do give you an adapter:
Camera with Adapter: howl.me/cjS0M96v0tV and use coupon code CAJUNEDEAL
@@PeterGregg thank you!
@@PeterGregg thank you! So good. Sad that they can not send to Colombia or Russia
Excellent production. Very big issue from Canon. As a stills shooter this is a very, very serious flaw! I sure hope Canon will take notice of your presentation.
On the R6 - Your flesh tone - looked warmer ... ?
your voice sounds funny hope all is well.
You think I did something wrong with the audio?? I did this after I woke up this morning, maybe I wasn't fully up to snuff yat?? I listened to it, it sounds okay to me, maybe a touch anemic lol, better take some vitamins lol. Thanks, i like it when people point stuff out I should fix up. Can't change anything this time, but I will listen for it next time. If you know what sounds bad, let me know so I can keep that in my head!!
In Europe this camera costs 3,000 euros. At this price level, NO OTHER CAMERA HAS NORMAL PROFILES 8bit !!!! This combined with the powerful cripple hammer (seems not worth canon customers, to have clog 2) and the BAN ON THIRD PARTY LENSES, clearly points the way to ...Sony or Panasonic...
With using the Canon log - it all looks flat ???
I think I explained that - watch the video on that part! :)