Capturing video in log tells the camera to record more from a scene—meaning you'll be able to recover more from your highlights and shadows and adjust more colors and tones in post-production. In this course, join Rich Harrington as he shows you how to record video in log, process the files, and complete a post-production workflow.
Topics covered include:
Recording options for log
Configuring cameras to recording in log
Monitoring log recordings
Following typical camera workflows
Getting ready for post
Using log files in Premiere and After Effects
Using log files in Final Cut Pro X
Managing and manipulating lookup tables
5. Agenda
Capturing video in log tells the camera to record more
from a scene—meaning you'll be able to recover more
from your highlights and shadows and adjust more
colors and tones in post-production. In this course, join
Rich Harrington as he shows you how to record video in
log, process the files, and complete a post-production
workflow.
6. Agenda
๏ Recording options for log
๏ Configuring cameras to recording in log
๏ Monitoring log recordings
๏ Following typical camera workflows
๏ Getting ready for post
๏ Using log files in Premiere and After Effects
๏ Using log files in Final Cut Pro X
๏ Managing and manipulating lookup tables
7. Richard
Harrington
I'm a visual storyteller exploring
the fusion of photography and video.
I'm all a husband & father
8. Vital Statistics
Author 40+ Books
Author 150+ Video Courses
Publisher of Photofocus
Conference Speaker
Business Owner
Photographer
9. Past Projects
๏America Online
๏American Diabetes
Association
๏American Israel Public
Affairs Committee
๏American Red Cross
๏Apple
๏Children's National
Medical Center
๏Department of
Veterans
Administration
๏Drobo
๏Federal
Communications
Commission
๏Google
๏lynda.com
๏Microsoft
๏Skylum
๏Smithsonian Institute
๏Under Armour
๏US Air Force
15. It’s All About Information
๏ Raw, Log, HDR all about capturing & presenting the most
information possible
๏ The closer we get or even beyond the human eye the better
๏ Dynamic Range
๏ Color
๏ Gradation
๏ Resolution
๏ Lots of math behind all the acronyms
๏ Focus on the idea of ‘Better Pixels’
16. Log & Raw- Not The Same
๏ Logarithmic Encoding
๏ A way of preserving more highlight & shadow
information
๏ Multiple log curves exist depending on manufacturer
๏ Usually gamma/color matrix converted in postproduction
๏ Raw Recording
๏ Bypassing a lot of in-camera processing
๏ Provides an extreme amount of data to manipulate
๏ Many parameters exist as controls to manipulate in post
17. ‘Regular Video’
๏ What you traditionally think of as video
๏ Parameters are 'baked' into the signal
๏ White balance
๏ Exposure
๏ Color space
๏ Codec
๏ Limited dynamic range
๏ Ease of use
๏ Limiting for maximum flexibility in postproduction
18. Background Of Log Recording
๏ Logarithmic - Yes! It’s Math!
๏ Log is processed footage
๏ Use of Log encoding made popular by Kodak’s
Cineon System for scanning film
๏ Log scans meant to correspond to density of the film
and to preserve those values in a digital format
๏ Same idea employed with digital acquisition
๏ Manufacturers all have their own “flavor” of log
19. Common Log Formats
๏ Arri LogC
๏ Sony S-Log, S-Log2, S-Log3
๏ Canon C Log
๏ Blackmagic Log (Film Mode)
๏ Panasonic V Log
๏ All Log formats will look flat and desaturated
๏ Log formats paired with color matrix
31. External Recording
๏ When frame rates higher than 30 fps at 4K resolution
๏ With older cameras that don’t offer internal 4K recording
๏ Models like Atomos offer external monitoring, focus assist, waveform
๏ Can record deeper color depth (10 bit)
๏ Records Uncompressed 4K and audio (internal is always 4:2:0)
๏ Longer record times, on affordable media like SSD drives
๏ Records to familiar codecs like Pro Res, Avid DnX
32.
33. Atomos Shogun 4K
๏ 1920x1200 IPS Touchscreen Display
๏ Records 4K (3840x2160) up to 30 fps
๏ Records 1080p up to 120 fps
๏ ProRes and DNxHD 10-Bit, 4:2:2 Encoding
๏ 12G-SDI Input and Loop-Output
45. Beware Of ‘Fake Log’
๏ Don’t confuse flat for log
๏ Shooting with reduced contrast, sharpness and
saturation can help - but its not log recording
๏ Many camera ‘profiles’ try to approximate log
recording
๏ All hope is not lost!
๏ Most camera manufacturers employing true log
recording even on new entry level cameras
49. ColorChecker Passport Video
๏ A complete solution for accurate color balance and
control – from capture to edit
๏ All-in-one pocket-sized convenience in a rugged hard
case with four different targets
๏ Ideal for on-the-go convenience or studio use
51. ColorChecker Video
๏ A complete solution for accurate color balance and
control – from capture to edit
๏ 2 targets in one with additional color chips for
additional color information
๏ Larger format is great for camera checks, and for
wider shots, both in studio and on location
55. Video Chip Target for Color Control
๏ Chromatic Row – Yellow, Red, Magenta, Blue, Cyan, Green
๏ Range of skin tones from dark to light and different undertones
๏ Linear Grayscale steps for even gray balance, with extra steps close to the
highlight and shadow regions
๏ Highlight and Shadow grays including a high gloss black to ensure it is
dark enough to capture the range of a digital Camera
56. How do you
Read a
Vectorscope?
Colors on a Vectorscope
will always appear within
their specific regions.
Saturation is determined
by the distance a point
is from the center of the
scope
57. How do you
Read a
Vectorscope?
Hue is determined by
the distance a point is
from from the center of
a region
Neutral white balance
is indicated by white in
the center of the
Vectorscope
58. How is a
Vectorscope
Used?
Using a three way
color corrector or
curves, the color shift
can be corrected so
that each color lines
up properly on its
vector.
62. White Balance Target
๏ Creating in-camera white balance helps to start at a
neutral point for all images you capture
๏ Eliminate color casts
๏ Make post production color editing faster and easier
by eliminating the need to neutralize frames
individually
63. Automated Workflows
๏ DaVinci Resolve
๏ http://bit.ly/xriteresolve
๏ Color Finale for FCPX
๏ http://try.colorgradingcentral.com/colorfinale/
69. Gray Scale Target
๏ White, 40 IRE Gray, and Black
๏ align the exposure and contrast of cameras you may
be matching
๏ help ensure that mid-tones, such as flesh tones, are
rendered accurately
74. Focus Target
๏ Facilitates center and edge focusing
๏ Combine with focus peaking
๏ Useful for testing lenses and resolution
๏ Quick reference for field
76. The Look Up Table
๏ Otherwise known as a LUT
๏ LUTs serve multiple purposes
๏ Calibration
๏ Data/Color space transformations Log > Rec 709
๏ Creative uses - film stocks/looks
๏ Source of A LOT of confusion
77. The Look Up Table
๏ R = S + L
๏ Dumb math!
๏ Unable to analyze exposure
๏ Unable to analyze color balance
๏ Hard coded & can’t change without external modification
๏ 1D and 3D LUTs
๏ 1D LUTs treat each color channel independently
๏ 3D LUTs treat color channels in combination with one
another
78. Before & After The LUT
๏ Remember! LUTs aren’t ‘smart’
๏ When improper signal is processed by a LUT
๏ Contrast off
๏ Color off
๏ Signal clipped
๏ ‘Fighting’ the LUT
๏ 3 Node/Layer approach works well!
๏ Grade before LUT to ‘prepare’ shot
๏ Apply LUT
๏ Post LUT grading
79. Do You Really Need A LUT?
๏ Maybe…
๏ Quick turn around
๏ Creative looks can be very useful
๏ Probably not!
๏ Technical/Input/Conversion LUTs add contrast/saturation
๏ Look LUTs are often made from actual grades
๏ The colorist approach
๏ Manual grade for initial transforms
๏ If LUTs are used, use them for creative purposes
80. LUT Creation
๏ LUTs are easy to create!
๏ But hard to get right!
๏ Possible banding (LUT Resolution)
๏ Format compatibility
๏ Not working for a variety of shot content
๏ All color apps & some NLE’s will allow for LUT export
๏ LUTs only support direct pixel manipulations
๏ Primaries not secondaries
81. Suggested Tools
๏ My go to tools:
๏ Lattice (videovillage.co)
๏ Mac only very - GUI driven
๏ Very intuitive
๏ Lightspace CMS (lightillusion.com)
๏ Full featured color management tool
๏ Calibration
๏ LUT manipulation
๏ LUT workflow tool
82. LUT Manipulation
๏ LUTs are easy to create!
๏ But hard to get right!
๏ Possible banding (LUT Resolution)
๏ Format compatibility
๏ Not working for a variety of shot content
๏ All color apps & some NLE’s will allow for LUT export
๏ LUTs only support direct pixel manipulations
๏ Primaries not secondaries