VisionLOG profile for ACR & Lightroom

Started by Steven Griffith, October 14, 2013, 02:03:29 PM

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joaomoutinho

Quote from: Luiz Roberto dos Santos on March 06, 2014, 05:03:04 PM
So, I use this workflow too, but, I believe there are two points where you went wrong in your flow: application of grain and color space.
Every type of texture is applied after the color grade, otherwise it will have a negative effect on texture.
What about the color space, you must work with the same color space throughout the flow. Note that you will initially use sRGB (set by defaut on AE), which is a very small space, and is subsequently you convert this to a larger profile. This way you are not taking advantage of all the information, on the contrary, after the first render you ruled out all this information.
Try to work the entire process from the BM space or work in ProPhoto RGB since the beginning...

In your opinion I should go straight from the original DNGs to the DaVinci resolve and work in the Blackmagic film gamma and colour space, correct? Apply the denoise in the davinci resolve.  Than, do the proxies and edit, and than, come back to resolve for the last export, And only in the last export I should bring the grain, correct?

Luiz Roberto dos Santos

Well this would be the most "correct" process, so to speak. However, you can work at ACR, only changing the color profile in which he is working. Try using ProPhoto RGB or any profile designed for film, so you get all the information.
The grain or texture, always apply as the last layer of all processes, after color grade, denoise/sharpen... after all done.


nazcaman

@Andy600 re: dark footage and clipping highlights.
This is very interesting since I've been struggling to get decent exposure when shooting RAW. I'm on my 3rd camera at the mo for different reasons, I tried 60D, 5D2 and now got 5D3, and sort of expected the footage to improve somewhat exposure and noise wise, because I normally shoot in low light conditions. I usually use metering in still photo mode (spot or partial) and then use the readings in video mode, but the RAW footage more often than not comes out underexposed. I looked at histograms, waveforms and all sorts, obviously trying not to clip anything, that's how I understand good exposure? However, I find myself pushing exposure up in ACR and then deal with the consequent artefacts. I do get ok results and accepted this as a workflow, but wasn't really happy and often thought it's my inexperience in the field that's causing this. Now I stumbled across your post. If i understood correctly, you suggest to overexpose in camera, especially if converting the footage to Visionlog or your Cinelog later, to get as much info in the mids and try to recover highlights afterwards?
Thanks

Andy600

@nazcaman - Yes, some overexposure helps with low light shooting. Obviously you want to get as much available light to the sensor as possible with a wide aperture and high ISO but I've seen shots where someone tries to capture every bit of highlight information when the shot is obviously outside the dynamic range of the camera. In these situations it's better to overexpose a little to keep noise to a minimum and leave some useable shadow detail.

If ETTR is causing mids (especially skintones) to drop below optimum exposure you have the potential for less detail and more noise in the most important parts of the image and will need to increase exposure in post. The downside to overexposing is obviously hard clipping of the highlights but a carefully adjusted curve or a softclip LUT can roll off the highlights nicely. In practice it's usually only ultrabrights that suffer anyway. Basically, there is little point having a shot where the lights look great but the talent is underexposed and noisy. To get those kinds of shot right takes controlled lighting, gels etc.

The practice I follow is to ETTR whenever possible but always expose for the subject in low light, sometimes overexposing 1/3 - 1stop. I always clip specular highlights and check everything with raw zebras and the raw histogram. I'm not the best DP and sometimes I can be lazy with exposure but I tend to get good results if I expose this way. If the available light is very low I won't even bother hitting record.
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

edge11

How are you guys getting the meta data on your dngs so that it gives you the right camera profile?

simulacro

RAWmagic lets you tell the batch conversion which camera is yours

edge11

I'm on windows, using mlv to dng bactch converter ;(

johnny5d

Hi all when using vision log should I also change "tone curve" to linear? as it is standard on medium contrast in camera raw!

Realy hope to hear from you guys!

Kharak

So what's going on at Vision Colour?

They making a new Colour grading program or new luts? Anyone got some inside knowledge?

http://vision-color.com/
once you go raw you never go back

Jbowdach

Quote from: Kharak on May 28, 2014, 02:07:12 AM
So what's going on at Vision Colour?

They making a new Colour grading program or new luts? Anyone got some inside knowledge?

http://vision-color.com/

Nope, just waiting patiently like you. There are quite a few LUTs in the new package and its mainly created to emulate analog film stocks (16mm if im not mistaken, but could be 35 stock as well. Steven will need to clarify). Seems like quite the package, as it should allow us to fully emulate a film development workflow in the DI (digital intermediate) phase of a production. Prices range as they'll have 3 levels: each offering more than the previous. I believe the pricing ranges from $30ish for the basic, to around $60 (similar to OSIRIS) for the medium pack, and around ~$120 for the pro pack. Im definitely VERY excited for these, as Im working on a project that could benefit from a classic 16mm look.

I believe they mentioned SOME type of discount for either owners of OSIRIS and\or for the first few weeks.

These are ALL estimates taken from the visioncolor FB page, I have no way to verify these in any way.

Luiz Roberto dos Santos

It seems that the new releases are being announced on Facebook. Follow or send email message to Steve:

www.facebook.com/VISI0NC0L0R
[email protected]
www.vision-color.com
@visioncolorps


The new pack seems to be LUT's highly precise and the new Logarithmic space DCP called "VisionSpace"...

rustmonster

Seeing as the site is currently down until the update does anyone have a link to the VisionLOG log profile?

MrTodd

I have been checking out the Vision Colour Luts , particularly the M31 Cinema version, and noticed it was available for Adobe Photoshop CS6/CC but not Lightroom. Will/can it be possible in the future?

Cheers
Some Canon stuff and some other stuff too. You can't polish a turd but shit does wipe off.

Luiz Roberto dos Santos

Quote from: MrTodd on June 02, 2014, 11:31:14 PM
I have been checking out the Vision Colour Luts , particularly the M31 Cinema version, and noticed it was available for Adobe Photoshop CS6/CC but not Lightroom. Will/can it be possible in the future?

Cheers

If, in future, LR provide support for LUT, yep, you can use this. But, on LR 5 this support is not done, but you can use some plugin so load this LUT's, like "LUT Buddy" - Red Giant.

grantcallegari

Quote from: mrnv45 on November 25, 2013, 08:45:46 AM
you have to go to your

proper user directory there is one that shows LIBRARY and then one that doesnt... cause its hidden... you have to un hide that using easiest way to temporarily reveal the ~/Library folder is to open Finder.

On the menu bar, at the top, select Go to reveal the drop-down menu and then hold down the Option key (marked ALT) and you will see the ~/Library folder appear. You may now select this ~/Library folder with your mouse or trackpad.

As soon as you release the Option key, the ~/Library folder will be hidden once more.

then follow the library>blah>blah>profiles  and put it in that folder...

Thanks for clarifying this. I was totally stumped too until I ran across your post. Thought I might be stuck down the forum rabbit warren for some time!

Africashot

Although I have managed to locate the right folder and placed the Vision Color preset it still won't appear in ACR, I had been using Visionlog for ages on PC but now that I switched to Mac I simply can't get it to work...
ML 5D2 & T3i

Luiz Roberto dos Santos

Quote from: Africashot on July 06, 2014, 02:51:12 PM
Although I have managed to locate the right folder and placed the Vision Color preset it still won't appear in ACR, I had been using Visionlog for ages on PC but now that I switched to Mac I simply can't get it to work...

You are using ACR 8.4? There's some issues about this version and dcp profiles...

Africashot

I realized it has to do with my raw converter, I was using MLRawviewer, when I use raw2dng ACR picks the camera profile and vision log appears, too bad... mlrawviewer is a nice script and I liked being able to trim the clips before producing the dogs...
ML 5D2 & T3i

elkanah77

Hi,
New member here.
Just wondering about raising the shadows and lowering the highlights in ACR before exporting. I do that when retouching stills, but do the VisionLog profile in ACR embedd the DR so it's best to leave these at 0 before exporting the sequence? It would seem to me that raising the shadows a bit and lowering the highlights bring back details as with stills but also increase noise. Better to take care of shadows/highlights later? Cheers.

DFM

Don't mess with anything in the Basic panel aside from Exposure. The other sliders are adaptive in PV12 so their effect varies depending on the tonality of the image. Moving 'highlights' or 'blacks' on frames within a cDNG clip will cause flicker as each one will be adjusted by a different amount. Grade after import into your video editing package, using curves.

Quote from: elkanah77 on July 31, 2014, 09:14:09 PM
Hi,
New member here.
Just wondering about raising the shadows and lowering the highlights in ACR before exporting. I do that when retouching stills, but do the VisionLog profile in ACR embedd the DR so it's best to leave these at 0 before exporting the sequence? It would seem to me that raising the shadows a bit and lowering the highlights bring back details as with stills but also increase noise. Better to take care of shadows/highlights later? Cheers.

elkanah77

DFM: Thanks. I assumed it was so but being new to the 5d3 raw workflow it sometimes pays to check with more experienced users.

hateom

Any chance for the VisionLog profile for ACR designed for BMD dng, same as ML dng?

ycy55

I download it and copy the VisionLog folder to the camera profile folder, but I still cannot find the visionlog in camera profile list.

N/A

I saw a mention of a new VisionLog update coming soon, any news on this? Was mentioned under the BMD dcp profile post.
7D. 600D. Rokinon 35 cine. Sigma 30 1.4
Audio and video recording/production, Random Photography
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