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GH2 film modes
  • 127 Replies sorted by
  • @stefanos,
    LOG preset of technicolor is no different from the amateur preset Flat!
    Canon just provided an opportunity to build a loadable presets Curve - that's all!
  • @Aleksandr_Oleynik . No, technicolor log curve is not the same as other user made presets. Ofcourse, if you just compare it side by side to another famous flat preset you might not see a big difference. The difference is mainly seen in the HANDLING of the file in color correction which is due to a true LOG signal. So if someone does not fully comprehend in practice the effect of 3d LUTS and LOG curves within color correction, then the argument becomes mute.
    Now, even though I always color correct for my work and I am pretty competent and I understand what benefits a true LOG signal will give me for my work, I'm not trying to bitch like so many other people who can't live without it and pretend that cinestyle is a huge factor that will make or break their film. I'm only saying, it would be cool to get a LOG signal from the GH2 as that would make my post production life easier, but that's all, it's only a tool which if you measure against other factors, it's not even hugely important, just incredibly handy,
  • How difficult is to edit these GH2 presets with hack?

    I found for my taste to much black level in every preset.

    It will be very nice to have something similar to technicolor, probably it is impossible to have a lot of image control parameters to handle on GH2, but if someone could be able to edit these presets or for Vitaliy to implement this in PTool.
  • @oneday Once encoder is reached at good level, VK will move to 2nd priority- hdmi and film modes. So we just have to wait and not hurry. Patience is a virtue:)
  • @oneday
    Patience, as stefanos said :-)
    I need time for many other things.
  • in 2011 please...
  • @dkitsov, @stefanos,
    I know what I write. I have the 5D Mk II and have the DaVinci Resolve. I can see the difference technicolor log and another famous flat preset. The difference is not worth the work that allegedly held technicolor.
  • @Vitaliy_Kiselev,
    LOG Curves - This is very cool!
  • @Aleksandr_Oleynik
    "I know what I write" What you wrote was that there is no difference between what technicolor and canon did with cinestyle and other flat presets. That is factually incorrect and had to be pointed out. Technicolor got an access from Canon to handle the data and to redistribute the tonality across the 8-bit space in log a bit earlier in an image processing pipeline than one can do with in camera settings or editing picture styles in a picture style editor.
    If you wrote something to the effect that in YOUR OPINION there was no visual difference between the two, nobody would say anything.
  • @dkitsov, " If you wrote something to the effect that in YOUR OPINION there was no visual difference between the two, nobody would say anything."

    Why do something if there is no visual difference?
  • Wow, thats a gr8 news, I didn't have a clue that this hack will go that much deep, as far as I know with GH1 story (that I have missed 100%) we didn't see something like that, take your time Vitaliy!!!
  • @stefanos

    Would you mind taking the time to try out the last 64 Mb/s 1080 24P settings I posted on page 6 here:

    I'd be curious to know if they improve/screw up any of the latitude/characteristics of the GH2 film modes for you. Thanks.
  • @kae
    since you ask, I will:) It's about time I join the club.
  • @kae should I test with the settings above from official low gop thread or with the ones from post 6 ?
    note that I don't care about 720p/1080i right now. only care about highest quality 24H and I'll be using transcend class 10 16gb cards
  • also, since it's just a little test for any changes in latitude/highlight roll-off/color grading behavior between hacked and unhacked, it'll be just a couple of high contrast static scenes ok, no specific need for camera movement right?
  • @stefanos
    Thanks, some great tips. I too have been brainwashed to use Cinema.
  • I use cinema mode for no color grading when I'm lazy. Smooth for color grading. Thanks @stafanos. Awesome tips.
  • One thing I have noticed is that cinema has more detail in the highlights than smooth--this is ungraded footage I'm talking about.
  • @qwerty123. Depending on what you consider to be detail, this can be true or untrue. For me, having big chunky steps of oversaturated highlights is not detail or at least, is detail that is highly undesirable, so I would argue that cinema mode has the least amount of detail in highlights.
  • Just wondering, if you know for certain that you want a shot to be in duotone, is there any advantage in shooting in a black and white film mode, rather than a colour one and then converting to duotone later?

    Also, does anyone have any insight on whether flat profiles (saturation & contrast on -2) are any better? I've heard a mixture of people recommending -2 and +2 for contrast/saturation.

    I can't see any difference varying noise reduction settings, though I set it to -2 to reduce the processing the camera has to do in the hope that it will make it more stable.
  • @Ptchaw
    Shooting in B&W mode: for image quality I don't know if there's an advantage, but one advantage is that you can already judge 'color' contrasts better (sry, don't have a proper word for it). For example, if you shoot in color, you might find your subject, let's say a face, to be seperated from background because the face is redish and the background is, let's say, blue. In B&W you don't have that color seperation and you might find the subject to not be seperated enough from background and find a better composition.
  • @chip Good point, I hadn't considered that. I often find shots which don't look particularly nice in colour look amazing in B&W so it would certainly help with composing shots.
  • @ptchaw While shooting in B&W and then grading for doutone might be easier, shooting in color would afford more tonality control in post. For example I would use an adjustment layer 1 on top of adjustment layer 2 on top of my footage. In adjustment layer one I would apply a color correction effect like ColorFinesse in which I would dial master saturation to 0 and use hue wheels to doutone.
    Then in the adjustment layer 2 below I would apply another instance of color finesse where I would use curves to color correct footage, this color correction would translate into different tonalities in the black and white footage.
    There is also a BW filter in After Effects that allows you to dial in tonality based on the original color image values but it doesn't work in a 32 bit depth.
  • @Stefanos

    Sorry for the late reply -- It would be great if you could use the 65M settings I posted here since they are the most extreme:

    They're only for 1080 24P 3 GOP leaving everything else stock (except for the 1080i/50 GOP which mirrors the 24P GOP in this version of ptools).

    If you could somehow incorporate camera movement that would be great, though not critical. I'm really curious if the 64 Mb/s data stream in these settings hurts or helps the quality vs the extra detail they provide in the I frames.