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Lumix S5 Film Emulation | Cineprint16
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- เผยแพร่เมื่อ 19 ธ.ค. 2022
- Thanks for taking the time to watch.
Suggestions and tips are greatly appreciated.
Gear:
Lumix S5
Panasonic L-Mount 20mm-60mm
Pro Mist Filter 1/8
Small Rig Mini Matte Box
Small Rig Lumix S5 Cage
Small Rig Quick Release Top Handle
Small Rig Quick Release Mini Side Handle
UHS-II 256gb SD
LowePro Travel Bag
Manfrotto Video Head Tripod Kit
M2 Macbook Air
Hi Charles, great video on a very important subject. As I went through the same painfull process with my S1H, I take the liberty to provide some tips & tricks.
1) Use V-Log only in combination with 10bit to have some leeway for the color grading to avoid bandings (blue sky, etc) and blockings.
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The bit depth is not about colors, but only about luminance - and this matters far more in post than many think. Going 420 instead of 422 for chroma subsampling is far less a problem.
2) There is a general misconception regarding Log-Profiles (regardless of camera make) and their behavior with the darks and blacks
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Log profiles exist to 'press' the high dynamic range of modern camera sensors into a 10bit luminance scheme, while distributing the bit-values evenly around middle grey.
This results in a Log-curve that is getting flatter and flatter the less light is captured by the sensor (below middle gray). Above middle grey, the log curve goes quite linear right into the highest liminance value the 10bits can capture (1024).
And this is where the 2 major misunderstandings reside:
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a) Dark sensor output values have already been lifted to higher luminance values and then go into the V-Log footage file - this includes any noise that has been created by the sensor, unfortunately. When doing a proper color space transformation (e.g. via a LUT or a CST) those darks and blacks get lowered in post to make them represent the true light values that the sensor was measuring during the shot. Unfortunately, many people believe that Log-footage is good for lifting the shadows, and then they are not happy with the resulting high noise.
b) There are tons of wrong YT videos, stating that Log-profiles provide a very large headroom in the lights. And, they provide the general recommendation to overexpose by 1 or 1.5 steps when shooting in Log-profile. The result is quite often that the highlights are burned out because Log-profiles run straight (linear) into the limitation of the combination of sensor and codec - there is no such 'soft clipping' or so, or at least it's minimal. So, you need to know exactly when your camera goes into highlight clipping in V-Log (either in % or IRE or stops above middle gray)
3) Recommendation for shooting in Log (in our case V-Log):
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a) learn from the documentation for your camera at which IRE-level the the clliping level resides when shooting in V-Log and write it down (!)
b) adjust one of the zebras of your camera (the SH1 can adjust 2 zebra levels) to this IRE clipping level (or 5% below for some headroom) - do the same with any external monitor and consider the levels when applying any in-monitor conversion of C-Log to view-friendly Rec709.
c) When you want to avoid blown out highlights, there should be no zebra patterns visible in your viewfinder, LCD or external screen
d) Sometimes, you need to make a compromise - for example shooting a nice face against a sundown - in this case, measure the light of the face (should be around 42 IRE). Yes, exposing the face correctly may reside in blown hout highlights.
e) Even more compromise required when you want to expose for darker areas - middle grey areas may still be OKish, but the lights will quickly blow out.
f) The more stops of dynamic range your camera has (ours are around 14 stops in V-Log) the less compromises you need to make during shooting - but even the most expensive Arri cameras (17 stops of dynamic range) get quickly out of their dynamic range when the scene is poorly lighted. That's why lighting equipment and personel on film sets often outweight the budget for the pure camera and lenses, not including camera cranes, dollies, vehicles, airplanes, etc.
4) A totally different approach (I switched to it about 3 mont ago): HLG profile instead of V-Log
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I was always wondering what HLG is about and how to work with as many cameras do have an HLG Rec2100 profile - even my iPhone when shooting with FilmicPro.
Unfortunately, there is little to find about HLG in YT, especially for Panasonic S-series. So, I took some YT lessons on HLG in broadcasting and color grading, and I found the great video from Gerald Undone who made a direct comparison between differend S-log and HLG profiles for a newer Sony camera. And, he gave me the kick, clearly stating that HLG3 on his Sony camera is clearly better that S-Log3.
Regardless of many more secrets behind HLG and HDR, the HLG curve is quite similar to the Log-curve - but flipping things between the lows and the highs. HLG goes linear down into the lows (no compression) and compresses towards higher luminance values.
How does HLG compare to V-Log, practically?
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a) Very soft clipping in the highlights, sacrificing some softness in the darks - but I feel less noise in the darks
b) Exposing is similar to V-Log (I do not expose beyond 90%). But the picture looks not so balanced between the lower and the higher parts in the EVF and screen. This is because the camera screen and EVF are not fully compatible HDR devices. But you can make adjustments in the settings for some visual compensation (it's only for the visual monitor picture - does not impact lighting measurment or the footage itself!)
c) HLG footage grades nicely, speeding up the render time (using same grading tree as for V-Log) by factor 2, appr (in DavinciResolve)
d) Once shot in HLG, you can edit and deliver for SDR (Rec709) or later (once you have HDR equipment at hand) for HDR - so, you bake future proof already into your footage during shooting.
5) Noise Reduction and Grain
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I tend to apply some basic NR even for most of my well lit shots. What I always apply (since I learned about it) is some grain at the very beginning of the post processing - grain enriches the visual impression and provides some stochastig luminance pattern that supresses color banding - its kinda miracle.
Sory for spending soooo many words - but I went through the same disappointments you did, and I wanted to provide you some relief - feel free to come back with any question.
Wow. This was an incredibly helpful and enriching read. You have saved me hours of research time. I have selected my zebra1 as 85% and my zebra2 as my grey at 42%. After reading, I now know how to actually implement those attributes into the process. Thank you!
@@charlestcrepps Great to hear it helps you - feel free for any question that may come.
Re the Zebras, I decided for using only one zebra to reduce confusion while fiming - the two only differ by the angle of the stripes which I felt misleading.
To find the IRE 42 (middle grey) I use the camera built - in spot meter that provides the exact stops above or below IRE 42 in V-Log (does also work in HLG) - yes, I need to hold the camera to the subject or slide the box with a finger on the rear screen.
👍👍
Wonderful stuff! Very helpful
Quite the in depth read for a youtube comment. Much appreciated
Awesome work!
Nice work, love the look of this! Came across Cineprint16 when looking for some film emulation workflows, in the end I went for Serr's FilmVision power grade which I love. Will try give this a go at some point!
I think that’s what’s great about having a variety of products/methods. I appreciate the kind words.
Additionally, love your videos and work. Actually used your V-Log tutorial last night.
@@charlestcrepps ah thanks! I hope it was useful and not too ramble-y
Hey Charles ! Welcome to the Lumix family hehe
I personely have a S1H now and i recommend filming at native iso ALL THE TIME. Iso is not part of the "exposure triangle" as it is in modern photography. I think the native ISO is 640 and 4000 on the S5 too. you'll never face noise anymore. I shoot all the time in vlog no matter the light available. I was amazed to see that the lumix Ss have the same exposure as my eyes when I am at 4000 iso , 1/48 shutter speed and wide open at night. There is no context where you want to see more than your eyes can right ? Dont overexpose for 1 or 2 stops in daylight, just expose as correct exposer and use the Zebra at 85 or 90 to avoid blown out highlights. Only the sun or harsh light should be overexposed obviously !
I recommend testing out HLG but just know that it is a display encoding curve, a display color space and not supposed to have big modifications in post.
Can't wait to see your progress on this channel !
A small comment: as to my knowledge HLG (Rec2010) is a scene-reffered gammut that was designed to feed directly into HDR viewing devices - or to undergo, if desired, some post production.
Engineering challenge was to allow the HDR devices (laptops, TVs, iPads, phones,e tc.) to display both, Rec709 and HLG without the need of manual switching between the two.
Another important tech requirement was to allow for extremely bright lights to be displayed on the viewing devices to make it look so great as if you where in the real scene.
They solved it by (forgive me for simplifying things) by
a) making the curve of HLG logarithmic in the lights (while Log does it in the darks), so it can capture more dynamic range in the highlights.
and, even when displayed on a Rec709 scree it does not look as flat as Log-footage because it is lineat in the lows and somewhat in the mids.
b) baking in some meta information into a HLG / HDR video file that can be read and interpretated by the video-decoder chips of the HDR video devices, allowing to generate those fantasic high lights from the logarithmic curve.
@@joyoffilming9500 Thank you for all these infos, i'll go learn on HLG much deeper !
Feel the EXACT same way when I shoot, for some reason always noisy.
What was the verdict with V-Log? Overexpose as a way to counter the noise gain?
PS your shot at the top of the video of you is excellent. Was that V-Log? What ISO?
No verdict as of now. I think the best way to counter this is to either purchase an atomos and shoot in RAW or ONLY shoot in 4000 ISO in V-LOG. HLG was also brought up as an alternative picture profile, but I have yet to test it. My advice is to read the long comment on this video and see what works best for you. Also, thanks for the kind words.
And yes, that shot was V-LOG at 4000 ISO color graded in Final Cut Pro with no noise reduction.
This was really interesting, Charles! Thanks for sharing your process!
Thank you, Hugo! Glad you found this interesting. Going to be posting a tutorial for general film emulation soon!
@@charlestcrepps Nice!
Great intro
Hey this looks very cool, these Film emulator things are tricky, maybe try get a cheap super 8 film camera and go for 30€ film converter to have it digital. Much more fun maybe ^^and well.... Real film.
Hey sir how did u add extra glow? And that matte looks
There is a specific effect that you can place on a node called 'Glow'. Use that effect and change the parameters to your liking. The matte look is simply a 4:3 film overlay that I found online.
What iso are you shooting at? The say don’t shoot native set it 4000iso
I’ll be honest. I have anecdotally noticed a difference in the digital noise from native 640 to 4000. This slightly confirms my suspicion.
You're not imagining the noise issue. You need to expose perfectly or shoot raw. It's the codec. I bought the video assist to get braw and love it now.
But with internal you need to nail exposure.
Not sure about cineprint. Skin tones look off. Love everything else but skin looks too strong for me
Yes! Thank you for all the feedback.