Mac AE Workflow (Cinelog-C): Mo's TYCO Project BTS (RAW/MLV, Dual-ISO, HDR w 5D3)

Started by DeafEyeJedi, February 18, 2015, 08:13:32 AM

Previous topic - Next topic

0 Members and 1 Guest are viewing this topic.

DeafEyeJedi

Shot in RAW/MLV on 5D3 113 in 1920 x 1038, 29.97 fps @ISO 100-500:
-16-35L II (w Polfilter Circular Slim filter)
-24-105L
-50L

Mixed footage of RAW, MLV, Dual-ISO (ISO 100-1600) and few HDR videos as well as several 3x Crop-mode's.
(CROP-MODE Fever: Just under the final 13 minutes was entirely shot on a 50L so you'll get to see how much it actually helps using 3x crop for certain shots)

Gotta love the DR's from Dual-ISO's ;)

Workflow:
cr2hdr-r > MLRV (for Dual-ISO ProRes) > PP

-All UNGRADED, shot as it is and just purely RAW.



-GRADED with Cineon Converter via PP (I actually lost all of my LUT's that were on an external drive which busted out (2nd one in a few months) on me just the other night and gotta get it retrieved soon):


*MLRV Screenshots*

5D3.113 | 5D3.123 | EOSM.203 | 7D.203 | 70D.112 | 100D.101 | EOSM2.* | 50D.109

DeafEyeJedi

*feedbacks*

Decided to dig deeper with Cinelog-C's workflow in AE...

I just wanted to share a workflow that I've been training myself on as of lately on my hardly ever free time (Thanks @Andy600 for getting me started on it) and see if anyone has their own thoughts/suggestion on this particular workflow or perhaps others may want to learn of a better way to color grade but don't know how to use AE?

Well here's a few...

http://vimeo.com/128048864

http://vimeo.com/128049280

http://vimeo.com/128049690

I just LOVE Cinelog-C so much that I could careless which NLE I'm using... my current Mac Mini isn't powerful enough to playback RAW/MLV in Davinci Resolve without crashing.

I know such a bummer but regardless I learned a WHOLE LOT by doing this way in AE and man it is wonderful how much control you have with these colors especially with the luxury of using ACR & Cinelog-C together!

Chime on in...
5D3.113 | 5D3.123 | EOSM.203 | 7D.203 | 70D.112 | 100D.101 | EOSM2.* | 50D.109

DeafEyeJedi

Actually I think placing the Shadow/highlight plugin sandwiched in between the two OCIO plugin's looks better?

https://vimeo.com/128073127
5D3.113 | 5D3.123 | EOSM.203 | 7D.203 | 70D.112 | 100D.101 | EOSM2.* | 50D.109

Andy600

@DeafEyeJedi - I saw your other post but didn't get around to replying yet.

First thing's first, I noticed you added 2 instances of OCIO to get from Cinelog V3.0 to Rec709 - If you only want a rec709 look you can simply select Cinelog V3.0 as input and Cinelog rec709 as output because any colorspace transform will happen silently in the plugin - that's one of the great things about OCIO, it's a realtime color management engine.

The reason you might want to add 2 instances (i.e. the sandwich I described) is for adjusting exposure (without the influence of gamma i.e. scene linear space) but retain the display referred (rec709) look for a visual reference - this also helps when using the Adobe Exposure plugin because it either uses gamma compensated math or, if the gamma compensation button is ticked, a simple slope (i.e. it's the same as pulling down the top left node in the curve plugin). I prefer this option ticked because the signal behaves similar to in-camera exposure and Adobe don't say exactly what 'gamma' is actually being compensated for - is it sRGB, or Rec709, is it linked to the .ICC profile etc etc. BUT, it's up to you - you might prefer the look of gamma compensated exposure adjustment ;)

re: the shadow/highlight plugin - I don't know exactly how it works (I've never used it in anger) so I'll need to pull up a greyscale ramp and play with it but if the image looks good to you under rec709 OCIO output (and with AE's workspace set to Rec709) then it IS correct - you are the colorist here ;)

The output or display referred transforms (rec709, sRGB, rec2020 etc) are simply acting as limiters to keep your image within the chosen display space. These are based on the actual transfer function math (contained in SMPTE standards like bt709 etc) but also have a soft clipping s-curve added - this is to keep the image looking more realistic and not too flat in the mids. The softclipping also helps control highlight rolloff which a simple transfer function will otherwise clip.

To see what mean - set the OCIO output to rec709 (it's lower down in the config list under Display Spaces) - the display space transforms in this section are pure transfer functions and have no soft-clipping component to control the highlights so anything above 1.0 will be clipped when rendered.

Incidentally - our Rec709 luts/transforms are what we think a good, default look is for rec709 but every manufacturer has their own curve - you could try transforming to another colorspace then apply a Sony or Arri rec709 lut - indeed, Art Adams, a respected DP even advocates using an ARRI Alexa to Rec709 lut with Sony F65 Slog3/S-gamut3-cine footage - it's not a 'technically correct' thing to do as the wide gamut transform to rec709 primaries is not a true inversion of Alexa Wide Gamut (as the lut was made for) but apparently it looks good - to him ;)

I should warn though - only ever do this as a final 'look' - actual colorspace transforms (i.e. when making intermediate Cinelog masters etc) are mathematical so any alterations you make to the signal will have consequences when you try to invert it or add any look, specific to that colorspace.
Colorist working with Davinci Resolve, Baselight, Nuke, After Effects & Premier Pro. Occasional Sunday afternoon DOP. Developer of Cinelog-C Colorspace Management and LUTs - www.cinelogdcp.com


DeafEyeJedi

Hello fellow ML users:

After researhing on the Adobe forums... There seems to be lack of answers for this kind of workflow I'm trying to duplicate settings for each composition (because I made the mistake thinking it was 25fps but it was actually shot in 29.97fps) hmmm - Thoughts?

Manually going through one by one seems to take forever... any chance I can do this quicker -- hopefully without the need to run 'Smart_Import2' again?

https://vimeo.com/130683377

Thanks!
5D3.113 | 5D3.123 | EOSM.203 | 7D.203 | 70D.112 | 100D.101 | EOSM2.* | 50D.109

Frank7D

You could try this script which can be downloaded here.

Note that I haven't tried it myself.

DeafEyeJedi

Thanks @Frank7D -- will try this as soon as I get back home.

After reading through the link you provided it seems that this script looks promising and will report back as soon as I can!
5D3.113 | 5D3.123 | EOSM.203 | 7D.203 | 70D.112 | 100D.101 | EOSM2.* | 50D.109

DeafEyeJedi

Just got home...

Downloaded the script from the link you provided (Thanks!) and placed in the script folder within AE.

Ran the script and man I was floored with how sweet it turned out -- especially how easy it was to use.

https://vimeo.com/130724517

Thanks a bunch to you, @Frank7D, for making our post-work lives even more fun.

8)
5D3.113 | 5D3.123 | EOSM.203 | 7D.203 | 70D.112 | 100D.101 | EOSM2.* | 50D.109

Mehmet Kozal

QuoteYou could try this script which can be downloaded here.
QuoteI was floored with how sweet it turned out -- especially how easy it was to use.
Sweet! Thanks you both.
Canon 650D user. Also, Bilal Fakhouri is a hero.