Here is the video:

But could you not do the same grade in after effects with something like the Color Finesse tool? Or perhaps in CS6's speedgrade program (I have not used this yet)? It would seem quite compelling to me that panasonic does not have an option like this for their camera's as it does make a pretty big difference, but perhaps it is only because their is another work around that the director of this video did not know about? I'm curious to hear if anyone knows a solution to this problem, as I'd love to keep my skin tones intact for future shoots as I really do like the color grade of this video.

Thanks for the input!

However, I'm kinda lost when it comes to color grading. Here's what I shot the other day to kill time:

Not terrible. I always try to shoot it as close to how I want it to look in Premiere. But, this time around, I experimented with some color grading. I can get into the details if need be. But, really, I'm just looking for opinions. Does this look bad? What would you change? Etc.

Thanks in advance!

A creative vacation video shot on (and off) of Chebeague Island. Located a few miles off the coast of southern Maine. Shot on a Hacked GH2. Download Original for maximum quality (FINALLY a PLUS member)!

Lenses used:

Tokina 11-16mm f2,8 Lumix/Leica 25mm f1.4 Zeiss 85mm f1.4.

Filter: Singh Ray Vari-ND DUO (Vari-ND and Polarizer in one)

Simple color corrections within Final Cut Pro, and some Magic Bullet Looks

SONG: "Daily(drops) - 5/1/2012 [Day One] (1)" (Infinite Third) / CC BY-NC 3.0 soundcloud.com/infinitethird/daily-drops-5-1-2012-day-one-1

MORE INFO on how the filming process on Vimeo

But, I've always wondered about the following “reverse grade procedure”: if we know the ways in which Rec 709 differs from the RGB color space of a properly calibrated computer monitor, then how come the following isn't possible as a cheap solution for those who want accurate grades both for web and dvd / video / hd-cam distribution?

• Step 1. Color grade movie on an RGB color accurate (IPS) computer monitor.
• Step 2. Apply the universal adjustments to contrast and color necessary to make the movie played in rec 709 grade look very close to (exactly?) like the grade on the RGB monitor.

Of course, we'd need to know what are the proper adjustments. But once you know what they are, you can just apply them to any future grade.

I'm sure I'm missing something, but I'd like to be illuminated on this issue!

I wanted to share this film with you to get some real critics from you. I'm active on a Swedish forum already and usually put my films over there to get some feedback but I wanted to hear your opinions as well.

The film is a school project I had, and I wanted to make a short film where I could really show my color grading. So even though I directed, edited and made the vfx in this video, I did it almost only to show my grading skills to then have something to show post companies as a portfolio after my graduation, which was a few weeks ago.

What do you think is good, what can I've been doing better?

I was using GH2, Orion v4b, Nostalgic (-2-2-2-2). Lens was Samyang 35mm 1.4.

Software used was After Effects CS5.5, Premiere Pro CS5.5, Twixtor, DaVinci Resolve. Converted all my files to Cineform .MOV before editing.

Namely, I thought that GH2 native progressive files (24H or 24L) will solve all the problems with Broken Chroma upsampling which I experienced with GH1 "interlaced wrapped" progressive files. Now the situation is slightly improved. However, as I am really picky about the quality of my footage, I noticed that colour resolution of the clips, when imported into Sony Vegas and then exported by using loseless codec, is not retained. The colour (spatial) resolution becomes lower.

However, by importing the following Avisynth script

DirectShowSource("name_of_the_file.MTS")

ConvertToRGB

into VirtualDub and exporting by using the same codec, the colour resolution becomes much better. You can see 400% enlarged crop below (the first with Sony and the second with Avisynth-VirtualDub). Please, click on the first two pictures (left & central) to see enlarged view.

So, I still can't use direct way of editing my footage (direct import into Vegas) if the quality should remain on the highest level. So, the first step is to convert the footage, by using Avisynth-VirtualDub, into some codec (e.g. loseless or Morgan) which preserves entire colour information.

However, such workflow is possible with camera factory firmware/settings, but not if I use, for example, Sanity 5 patch/settings. When exporting Sanity 5 footage with Avisynth-VirtualDub workflow, I always get exported file which is more or less garbage (see the third picture) - the picture becomes worse and worse by time.

I know that majority of GH2 owners are probably satisfied with results on the left picture (note again that it's 400% enlarged detail). Unfortunately, I am not. :-(

Is there any other way to get high-quality footage from other lower-bitrate patch (I liked Sanity 5 due to a relatively low bitrate) by using Avisynth-VirtualDub workflow?

Product page: http://www.avid.com/US/products/artist-color

Price: about $1500

Available at:

http://www.ebay.com/itm/Avid-Artist-Color-Euphonix-MC-Color-Correction-Grading-Panel-DaVinci-Resolve-/270969650466

http://www.ebay.com/itm/Avid-Artist-Color-Color-Grading-Controller-Surface-/370599479922

Tangent Devices CP200

Product page: http://www.tangentdevices.co.uk/products_cp200.asp

Price: about $1800, used

Available at:

http://www.ebay.com/itm/Tangent-Devices-CP200-BK-control-surface-panel-for-color-grading-/180874275408

Tangent Devices Wave

Product page: http://www.tangentdevices.co.uk/products_wave.asp

Price: about $1500

Available at:

http://www.adorama.com/TAWAVE.html

http://www.bhphotovideo.com/c/product/571637-REG/Tangent_Devices_WAVE_Wave_Panel.html

Tangent Element

Product page: http://www.tangentdevices.co.uk/products_element.asp

Price: about $1200

Available at:

http://www.adorama.com/TAETKP.html

My question is have we completely given up on either hacking or asking for more fine color adjustment from Panasonic? It seems that everyone would like to have a less baked in look in terms of color and contrast, so why hasn't there been more of a concerted effort to get Panasonic to allow more range? Of course the same could be said for the Sharpness adjustment. Why not have more discussion about fine tuning the image in camera as a future update?

In the wake of recent testing, the standard profile has been held in much higher regard than before. Vibrant has also received a boost in popularity. Nostalgic continues to be popular as does Smooth (the two profiles previously viewed as having the widest dynamic range). Most of the other ones are not viewed as kindly.

This thread is meant to focus the discussion a little more.

http://www.fourseasonshd.com/cgi-bin/csvsearch.pl?db=db1&tp=tp4&search=bluelight1

Basicly he is putting a color filter in front of the lense to move the exposure of red and blue channel up some stops. Then in post he is trying to fix the tint. Does this make sense? Wouldn´t setting a "wrong" white balance have the same effect?

Before I press record the lcd shows different colors in comparison to the video I can watch after recording (after recording it looks a bit more green). I have tried nearly everything but without any good result.

Is the reason that the DSP of the cam doesnt compute every pic manipulation effect to save energy and to protect the cam from overheating in non recording mode?

any ideas to fix that? Or are patches for the hack available that will fix it?

Thx in advance

.Patch: quantum 100

.iso 640 (down from 800)

.kelvin 6300

.24h

.standard -2,-2,0,-2

.shutter 40

.lens 14-140.

.AFS - continuous AF off

.OIS on (1)

.Tripod: Camera locked

late afternoon indirect natural light, indoors. grain and noise was constant and pleasing. Color was great and faithful...

But: In the middle of the shoot (two and a half mins in) after a pink shirt appeared on 1/5th of the frame, the image turned greenish, specially on the skin tones Mids.

this samples are two frames apart. direct screenshots from quicktime with avc plugin for playback of mts file.

I've also noticed this almost a year ago in a shoot, using original firmware. In a scene where yellow was background and blue and pink elements appeared in the foreground while panning. kind of like the pink shirt that comes in and out of the frame.

In this case it never goes back to normal up to the end of the clip, up to 5 minutes, the shirt keeps coming on and off frame every 10 seconds.

Anyone noticed this? It looks like although everything is locked the codec is performing some kind of auto white balance adjustment?!

I'm aware of the possible color shift in the first few seconds after you start recording, but this is different.

I've posted this on another thread but it was out of place.

I appreciate your input.

thanks

P.S by the way the film was shot in P2,HVX200.

Thank you. Aksel

QUESTION===> If your video / film content is not aimed at TV distribution but only for the web and also film-festivals, how crucial is it to have a broadcast monitor for color correction? Are there good, affordable (less than $1,500 or abouts) alternatives to a professional broadcast monitor that give nearly as good results in color critical work? Is there a good source of info on this?

What about a monitor like this: http://www.necdisplay.com/p/desktop-monitors/pa271w-bk

(Although even that is a bit pricey...)

Here is a little before and after comparison video to show how far you can push hacked footage during a color grade.

Hope ya like it,

Michael "Pixelphile"