*8bit & 4.2.0 subsamplig* THANK GOD FOR THIS VIDEO! I'm HORRIBLE at explaining this to people, you do such a great job of it!!! Explaining to people that no, they can;t just record an advert for their small business on a DSLR or phone if they want to submit to broadcasters was getting annoying. :)
And why, exactly is that? I see shitty advertisements (both in intellectual and recording quality) on TV all the time. You think all of those local businesses bother with color grading? Or care about blowing out highlights? You're hilarious.
There's even a critically acclaimed Sundance Film Festival film called Tangerine that was recorded on a fuckin' iPhone 5S. It had a limited theatrical release, too. The important piece at the end of the day is your creativity and competence, not equipment. Elitists are generally not the people who make good films.
It all depends on who is at quality control of the broadcaster. They will know by looking at various testing devices... Whether they care or not is another question
Great lesson. Really helped remind me of some of that stuff I learnt years ago when first using a tape suite and vectorscope - it's amazing what modern computers can do with video signal processing. Interesting times to be alive!
With this video I got another step in learning the basics :) Last weekend I also went to a 2 hour talk about raw video and learned alot about how a camera works. with the talk and this video I have a basic understanding what is really important with color :)
Amelie was colored digitaly by the way, one of the First movies to use digital color timing. And you can tell, they even used some of the first (and very obvious) powerwindows, its pretty funny how primitive it is, but also shows how grading doesnt need to be complicated, just get into the right colorspace and go nuts, there are no rules :)
I totally agree that too many people rely on post trickery to make the image, including big Hollywood productions. I really miss natural looking images in movies. I've always had the mentality that one should shoot what they want to see and use post tools to just "nudge" things a little if need be. A recent locally produced movie was shot on a Red and I thought it looked terrible, like the whole thing was run through Instagram "filters". I know a few people who worked on the movie and they said that it looked so much better on the production monitors. It's a shame too because it made an otherwise surprisingly good movie hard to watch; distracting. What you say about art direction is very true too. I worked as an electrician on the first locally-produced feature to be shot in HD video. They had a very strange look on-set. There was no black, no white, no fine patterns, lighting was very even with keys only being like 1/2 stop over the fills. To the eye, everything looked very flat and boring. On the big screen, it looked totally normal. They conformed the entire production to the limitations of the cameras that were available at the time. That takes real knowledge and skill.
These videos are great! There is so much information! Did you and your team go to film school at all? I heard in the video "USC"? Whatever the case, great work! I'll be tuning in.
When I see a "green-tinted" scene at the movies, I recall the all-Fluorescent-lighting of 1960's SF. (If one used color slide film under such "illumination," without a color correcting filter/gel everyone was "Kermit green.") "Amélie" reminds me of Agfachrome, and, to a lesser extent, GAF's Anscochrome.;) As for "the weight of color," imagine how the "Matthew Brady" black-and-white photos of the piles of corpses of Confederate and Union soldiers after the battle of Antietam would have more than horrified audiences of the period if they were "Technicolor real." Yep, those funny looking shapes are amputated body parts and bits of internal organs laid on the lawn by weapons or overworked battlefield surgeons.
Awesome video. More about colors, I would also like to see the importance and use of broadcast colors. Specifically 16-235 vs 0-255 or what is known as Studio RGB vs Computer RGB. Also the chroma limits with over saturated colors on certain screens. Some new monitors and displays use xvYCC color to broaden display range of colors which is similar to what you described such as 10 bit. However, some screens such as TV displays do not display the colors the same way as computer monitors. Therefore we are sometimes limited to fully stretching our spectrum. Certain formats such as .mov can store 0 - 255 values depending on the codec and others are limited to 16 - 235 and clip the rest. I would like to learn more about the broadcast colors, 7.5 IRE, and proper levels or legal colors in video and how they apply today in production workflow. By properly using the Vectorscope, Histogram, and RGB Parade this will help people to avoid clipping blacks and whites. Perhaps this is an area you may want to look into as it presents many problems to many film makers who do not understand output colors. And great job on your videos. I really enjoy them.
@@FilmmakerIQ- Thank you. I'll be sure to give your channel a plug when I feel inspired to add that to my work. A channel called SV Seeker always asks at the end, "What have you made today"? Then shows a few home projects submitted by viewers. A very nice communal gesture. Your videos are the best I've seen. I am a semi retired video equipment designer, if you hadn't already guessed. Learning about color space in the 1980s was one of the most challenging periods of my career. Truly good accurate education, as you provide, is a rare commodity. Thank you again!
I learned a lot from this video, although LOG is not really a color space. LOG is not classified in the research that i have done, but i think it falls into a category of Gamma Variation, where it would be Linear and Logarithmic curves.
+Juan Pablo that distinction is a little too pedantic. A color space is just an organization of colors. Gamma Variation may be how LOG and Linear are derived but they are separate color spaces.
This is great! Your videos are awesome and very helpful! Could you please make some about audio? Im struggling right now with a lot of aspects of it, thanks a lot, keep making great stuff, greets from Caracas, Venezuela.
Really interesting video, just wondering why red blue and green are being referred to as the basic primary colours as opposed to the conventional red blue and yellow? Since green can be broken down into blue and yellow
+O'Connell Aoibhin It depends on which system we approach it from. If you are mixing pigments (reflecting light - a subtractive system) then it's red yellow and blue (actually cyan replaces blue and magenta replaces red for CMYK printing systems). In light (an additive system), Green is the primary color. If you look at a color spectrum graph, you'll see green is in the middle between red and blue - where green and red meet is where yellow sits. The idea in a subtractive system is you're taking away colors from white... in an additive system you're adding colors to nothing (black). So in a subtractive system we start with white - we paint it cyan (bluish) so now it's reflecting only blue and green light. Then when we paint over it again with yellow (which only reflects green and red light) - the only remaining light being reflected is green.
That was great! Could you make a video explaining what "Color Science" means? Recently, the BMPCC 4k and 6k got a firmware upgrade (7.3) from Color Science 4 to Color Science 5. What does that mean... and does that create different data when shooting RAW?
Painters have really kind of confused the medium - most of the artists color wheels are based on old color models that have since been scientifically revised - hence that title of that book (although Cyan may be called a type of blue :P)
Filmmaker IQ sure additive and subtractive colour is completely different, so parallels between film and canvas are strained. But it covers the science of light frequencies and how that is 'mixed' in the eye. And has that delightful mix of art and science that ticks all the boxes for my taste. :)
biscuitsalive well additive and subtractive are actually the same thing just two ways to approach the subject. Like in Technicolor, when filming you have a RGB additive model, but when the film is printed as a positive you switch to a CMY subtractive model. The problem with all those painters models as they were developed before we had an understanding of how Color Works in the eye. It's kind of frustrating to try to marry those art systems to modern color science.
Another great video. John, I have a question: At 10:22 you clearly show the benefit of shooting in log, as I do, but you don't show how much that Rec 704 video mode can be corrected in post. I'd welcome seeing a comparison. And, if not shooting raw is it still worth it to shoot log in regards to range of color correction? Thanks.
You can do a lot with REC 709 but you're not getting the dynamic range you do with log. But when you really need to go to town (and especially with chroma key) RAW has a lot of benefit.
Very interesting video, but sadly I didn't saw much difference in the material. So what do you do if you are (like me) color blind? . Is color grading really that much important?
+marshallgibson89 Are you really color blind? That disability would be really hard if you really wanted to be a colorist. Still you can rely on scopes to make sure your colors are where you want them to be. But if you're just having trouble seeing what I did - basically I pushed the primary colors harder into their hues. The hat which was more light pink is redder - the glasses and lipstick as well. Then the greens and blues are also deeper. Grading is an important part of modern filmmaking - you don't have to overdo it for every shot and remember that color starts in production design - but it is a skill needed to make your work look modern.
+Filmmaker IQ Okay thank you for the explanation. I am really color blind (it's not even allowed for me to work in my profession as an electrician anymore). I will relate to my camera man for the color grading. We will start soon on our first short film. It will be in German but with English subtitles available. Thank you again for your answers and keep up the good work you do. I really like your videos, very informative and very good explained.
Can you make a similar video (the end section) but for DSLR footage + Adobe Premiere Pro ? The BMCC is really for budget productions and not for amateurs.
Filmmaker IQ Thank you. However, i find it a little different. I have to carefully use picture profiles inside the camera. I use the Technicolor picture profile for DSLRs. But i have some problems getting back the proper colors in post. Basically what you do in post i need to do half inside the camera and half in post.
Thanks for telling us who sponsored this video. Unfortunately, the vast majority of other RUclips how-to vloggers neglect to do that when promoting products they have received compensation to, which I understand can, in certain circumstances, be illegal, and is certainly unethical. Caveat emptor.
It's probably not illegal, but it certainly goes against RUclips's policies, which state that every creator has to make it explicitly clear if the video is sponsored.
Hello John , thanks for your videos they are inspiring. I have a question, i would be doing my first music video which the theme is a happy colorful video with triadic color. Can I use a fluorescent light to light up the background (blue, yellow ...etc)? On the other hand, can a fluorescent light act as a main or fill light on set?
Sure you can. The only problem with fluorescent lighting is sometimes they have a color cast. Just do some tests with the lights you want to use and see if it works.
You would either need to go back to the 3 chip design or live with less resolution. Either way it would be going backwards. The interpolation is really what makes modern video cameras so accessible.
@@FilmmakerIQ true, but i heard there is new sensor technology that can capture all red, green and blue in a single photosite. Its not foveon sensor, its newer than that. But i forgot where i read the articles about it 😔
@@ristanadwicahya maybe, but you can accomplish the same thing going down in resolution. That's really the reason why phones have 8K sensors... It treats a block of RGB photosites as one pixel.
How can I calibrate the 8 bit profiles in my GH5 for realistic color in video without using luts in post? It has basic contrast, saturation, Hue sliders to adjust but the hue will go too much magenta or yellow. It has a RGB while balance adjustment option. Should I try that?
@@FilmmakerIQ that's what I'm talking about. I only shoot log when I grade in post. I'm trying to calibrate a color profile in camera so it's ready to go and fast,easy. The GH5 has a few color profiles to choose from. I find the Natural and Cine- V having the closest to realistic color science so I've been using those. The problem is that the camera doesn't give me the powerful tools like Davinci or Premier in camera to fix the inaccurate color rendering from the camera. You can adjust brightness, saturation, contrast, Hue but that's it. I recently discovered a option in the white balance menu. There's a strange white balance tool that lets you set a custom white balance, beyond the tungsten to kelvin from a RGB spectrum. I was wondering if that would be the answer
It's interesting you mentioned the Matrix's green tint as film maker's choice. We often get a different product to what the film maker intended at home. The Blu-ray of the Matrix had an overly green cast and the 4k UHD re-release was re-mastered under the watch of The Wachowski's to eliminate that: www.resetera.com/threads/the-matrix-no-longer-looks-like-puke-green-in-its-uhd-release.43451/
+WhisperingChocoTaco Honestly don't like shooting with RAW on the MkII. Feels like it's going to crash at anytime. Shooting a compressed format on the BMCC is solid, easy better than compressed mode in the Canon 5D mkII though I do miss the FF look
Filmmaker IQ Thank you so much. Maybe it's better on the 7d with its double processor. I don't understand why people buy the 7d (and use it in films) when it has such a small sensor. At the moment they cost about the same.
+WhisperingChocoTaco it _was_ cheaper at one point ;) the 7D is also closer to traditional 35mm motion picture film. But yeah 5dmkIi and ML Raw was never a good combo. I can't speak on other models.
Bit of a shame. You explained the mechanics of each progression of the medium from the start but after the two strip system of technicolour you started to skip over such important things, Ie and then came eastman colour, and then came....etc. No mention of how the three strip technicolour process was actully achived with seperat colour dyes. Or where colour emulsion agfa/ eastman came about.. could have shown the physical way film is copied to digital.
This is SO out of date. Blackmagic's DaVinci Resolve is at v17 now - this video is talking about v9! Find a newer video to learn about Blackmagic technology.
you cheated. you say put more effort to get it almost right on the set and do just a little bit in post. but it is of course much easier to do post with your primary color set than with more harmoneous colors.
Damnit... I have SOOO much more to learn.
We all do ;)
And that's awesome - imagine how shitty it would be to know everything - when there is nothing else left?)
*8bit & 4.2.0 subsamplig*
THANK GOD FOR THIS VIDEO!
I'm HORRIBLE at explaining this to people, you do such a great job of it!!!
Explaining to people that no, they can;t just record an advert for their small business on a DSLR or phone if they want to submit to broadcasters was getting annoying. :)
And why, exactly is that? I see shitty advertisements (both in intellectual and recording quality) on TV all the time. You think all of those local businesses bother with color grading? Or care about blowing out highlights? You're hilarious.
There's even a critically acclaimed Sundance Film Festival film called Tangerine that was recorded on a fuckin' iPhone 5S. It had a limited theatrical release, too. The important piece at the end of the day is your creativity and competence, not equipment. Elitists are generally not the people who make good films.
You can always repackage 4.2.0 footage into 4.2.2 for distribution, too. No one would be able to tell the difference without harsh scrutiny.
It all depends on who is at quality control of the broadcaster. They will know by looking at various testing devices... Whether they care or not is another question
1950's cinema would have been amazed at the look you achieved. Amazing!!! Thank you for sharing this!!!!
I think you should start making indie feature films.. I am from Kenya and you've taught me way more than any film school I'd love to watch your art
The explanation of colour harmonies were very helpful. Very well narrated. Thank you!
Great lesson. Really helped remind me of some of that stuff I learnt years ago when first using a tape suite and vectorscope - it's amazing what modern computers can do with video signal processing. Interesting times to be alive!
With this video I got another step in learning the basics :) Last weekend I also went to a 2 hour talk about raw video and learned alot about how a camera works. with the talk and this video I have a basic understanding what is really important with color :)
Man, I love the work you're doing with filmmaker iq, you have such a nice phase when it comes to teaching!!!
Probably the best info film on digital color I've seen. And I agree on the Resolve tracker being the best thing ever.
thanks to you I am now realizing how much I still have to learn, I love this channel
An in depth video about color? Great!
Great information John Hess. Thank you so much!
great essay, You and Criswell are the best here in youtube!
This guy was way ahead of his time.
Thanks John, I like how your videos are always well presented and full of info.
Thanks guys. It changes my mind... and eyes...
To me, it looks like the highlights are waaay over top and it just looks washed out. But, otherwise the colours are vibrant.
One of the best videos I've seen on this topic... can't wait for more to come :)
13 thumbs down...... really? Those must be srt8 Haters Jon..... your work and info is great information. Please keep it up doc.
An audio one in the queue soon. ;)
Another great instalment John
such good.
very thanks.
so wow.
who let the doge on the computer?
Jon you are killin it man. Wow!!
Lovely video and channel, cannot wait to learn more!
Amelie was colored digitaly by the way, one of the First movies to use digital color timing. And you can tell, they even used some of the first (and very obvious) powerwindows, its pretty funny how primitive it is, but also shows how grading doesnt need to be complicated, just get into the right colorspace and go nuts, there are no rules :)
I loved the colors in Amélie
I totally agree that too many people rely on post trickery to make the image, including big Hollywood productions. I really miss natural looking images in movies. I've always had the mentality that one should shoot what they want to see and use post tools to just "nudge" things a little if need be. A recent locally produced movie was shot on a Red and I thought it looked terrible, like the whole thing was run through Instagram "filters". I know a few people who worked on the movie and they said that it looked so much better on the production monitors. It's a shame too because it made an otherwise surprisingly good movie hard to watch; distracting. What you say about art direction is very true too. I worked as an electrician on the first locally-produced feature to be shot in HD video. They had a very strange look on-set. There was no black, no white, no fine patterns, lighting was very even with keys only being like 1/2 stop over the fills. To the eye, everything looked very flat and boring. On the big screen, it looked totally normal. They conformed the entire production to the limitations of the cameras that were available at the time. That takes real knowledge and skill.
These videos are great! There is so much information!
Did you and your team go to film school at all? I heard in the video "USC"?
Whatever the case, great work! I'll be tuning in.
Great overview. Thank you!
Awesome! Thank you sooo much!!! :) You guys are great
Love this stuff. I just wish I had the money to play with this type of setup. Very motivating nonetheless. Thanks John.
I love these videos. I learn so much from them. Thank you for uploading!
"Andy and Lana Łacziałski", zabawnie to brzmi :D
Thanks John
When I see a "green-tinted" scene at the movies, I recall the all-Fluorescent-lighting of 1960's SF. (If one used color slide film under such "illumination," without a color correcting filter/gel everyone was "Kermit green.") "Amélie" reminds me of Agfachrome, and, to a lesser extent, GAF's Anscochrome.;) As for "the weight of color," imagine how the "Matthew Brady" black-and-white photos of the piles of corpses of Confederate and Union soldiers after the battle of Antietam would have more than horrified audiences of the period if they were "Technicolor real." Yep, those funny looking shapes are amputated body parts and bits of internal organs laid on the lawn by weapons or overworked battlefield surgeons.
thanks for the knowledge
i always waiting for ur video to come
Great video. Thank you!
Awesome video. More about colors, I would also like to see the importance and use of broadcast colors. Specifically 16-235 vs 0-255 or what is known as Studio RGB vs Computer RGB. Also the chroma limits with over saturated colors on certain screens. Some new monitors and displays use xvYCC color to broaden display range of colors which is similar to what you described such as 10 bit. However, some screens such as TV displays do not display the colors the same way as computer monitors. Therefore we are sometimes limited to fully stretching our spectrum. Certain formats such as .mov can store 0 - 255 values depending on the codec and others are limited to 16 - 235 and clip the rest. I would like to learn more about the broadcast colors, 7.5 IRE, and proper levels or legal colors in video and how they apply today in production workflow. By properly using the Vectorscope, Histogram, and RGB Parade this will help people to avoid clipping blacks and whites. Perhaps this is an area you may want to look into as it presents many problems to many film makers who do not understand output colors. And great job on your videos. I really enjoy them.
great video! Thanks for sharing!
"Make something great!" I love it. May I use that?
I'm not going to stop you :)
@@FilmmakerIQ- Thank you. I'll be sure to give your channel a plug when I feel inspired to add that to my work. A channel called SV Seeker always asks at the end, "What have you made today"? Then shows a few home projects submitted by viewers. A very nice communal gesture.
Your videos are the best I've seen. I am a semi retired video equipment designer, if you hadn't already guessed. Learning about color space in the 1980s was one of the most challenging periods of my career. Truly good accurate education, as you provide, is a rare commodity. Thank you again!
I learned a lot from this video, although LOG is not really a color space. LOG is not classified in the research that i have done, but i think it falls into a category of Gamma Variation, where it would be Linear and Logarithmic curves.
+Juan Pablo that distinction is a little too pedantic. A color space is just an organization of colors. Gamma Variation may be how LOG and Linear are derived but they are separate color spaces.
Informative as always.
a nice video as always - and well worth the watch! thanks :)
thanks a lot. it seems master class to me.
Amazing and really informative , Did you make any films recently that show your style ?
don1559 it's been too long - I've been really busy building up this channel and the site.
This is great! Your videos are awesome and very helpful! Could you please make some about audio? Im struggling right now with a lot of aspects of it, thanks a lot, keep making great stuff, greets from Caracas, Venezuela.
That's adorable.
Really interesting video, just wondering why red blue and green are being referred to as the basic primary colours as opposed to the conventional red blue and yellow? Since green can be broken down into blue and yellow
+O'Connell Aoibhin It depends on which system we approach it from.
If you are mixing pigments (reflecting light - a subtractive system) then it's red yellow and blue (actually cyan replaces blue and magenta replaces red for CMYK printing systems).
In light (an additive system), Green is the primary color. If you look at a color spectrum graph, you'll see green is in the middle between red and blue - where green and red meet is where yellow sits.
The idea in a subtractive system is you're taking away colors from white... in an additive system you're adding colors to nothing (black).
So in a subtractive system we start with white - we paint it cyan (bluish) so now it's reflecting only blue and green light. Then when we paint over it again with yellow (which only reflects green and red light) - the only remaining light being reflected is green.
Good stuff! Nicely done!
Great work. Love this channel
Super video
That was great! Could you make a video explaining what "Color Science" means? Recently, the BMPCC 4k and 6k got a firmware upgrade (7.3) from Color Science 4 to Color Science 5. What does that mean... and does that create different data when shooting RAW?
Been meaning to do that topic for a long time!
This video was awesome. Great information! :)
YESSS JEUNET! loveeee that director
DAMN!!!!!! That is F(n) AMAZING!!!!! I wish Resolve worked on apple gear
+Mychal Simmons DaVinci Resolve is available for Mac.
They're completely different tools. DaVinci Resolve Lite is free, give it try.
This is so unbelievably cool I gotta express it in a new language. Hurg Zapper eenf a loooo bunzagiggy.
i wish i had a professor like you at my college. all my professors are monotone and boring.
Fantastic!!!
Keep it up!
The previous 3 example scenes were heavily influenced by sound. As such, is it safe to say color and sound are intertwined? Perhaps, more impactful?
Davinci is amaaazzing
"Blue and yellow do not make green"
Good book if you want to learn some more about this stuff from a painters point of view.
Painters have really kind of confused the medium - most of the artists color wheels are based on old color models that have since been scientifically revised - hence that title of that book (although Cyan may be called a type of blue :P)
Filmmaker IQ sure additive and subtractive colour is completely different, so parallels between film and canvas are strained.
But it covers the science of light frequencies and how that is 'mixed' in the eye.
And has that delightful mix of art and science that ticks all the boxes for my taste. :)
biscuitsalive well additive and subtractive are actually the same thing just two ways to approach the subject. Like in Technicolor, when filming you have a RGB additive model, but when the film is printed as a positive you switch to a CMY subtractive model. The problem with all those painters models as they were developed before we had an understanding of how Color Works in the eye. It's kind of frustrating to try to marry those art systems to modern color science.
Good stuff.
that was nice!
Another great video. John, I have a question: At 10:22 you clearly show the benefit of shooting in log, as I do, but you don't show how much that Rec 704 video mode can be corrected in post. I'd welcome seeing a comparison. And, if not shooting raw is it still worth it to shoot log in regards to range of color correction? Thanks.
You can do a lot with REC 709 but you're not getting the dynamic range you do with log. But when you really need to go to town (and especially with chroma key) RAW has a lot of benefit.
Love your channel!
Very interesting video, but sadly I didn't saw much difference in the material. So what do you do if you are (like me) color blind? . Is color grading really that much important?
+marshallgibson89 Are you really color blind? That disability would be really hard if you really wanted to be a colorist. Still you can rely on scopes to make sure your colors are where you want them to be.
But if you're just having trouble seeing what I did - basically I pushed the primary colors harder into their hues. The hat which was more light pink is redder - the glasses and lipstick as well. Then the greens and blues are also deeper.
Grading is an important part of modern filmmaking - you don't have to overdo it for every shot and remember that color starts in production design - but it is a skill needed to make your work look modern.
+Filmmaker IQ Okay thank you for the explanation. I am really color blind (it's not even allowed for me to work in my profession as an electrician anymore). I will relate to my camera man for the color grading. We will start soon on our first short film. It will be in German but with English subtitles available.
Thank you again for your answers and keep up the good work you do. I really like your videos, very informative and very good explained.
+Sheikh Yurbat Interesting I didn't know that. Maybe it is a smal advantage. Thank you.
Such a color grad is easily possible with out raw. 10Bit 422 should suffice.
Can you make a similar video (the end section) but for DSLR footage + Adobe Premiere Pro ? The BMCC is really for budget productions and not for amateurs.
The principles are all the same, you just won't have as much latitude that you get with the BMCC.
Filmmaker IQ
Thank you. However, i find it a little different. I have to carefully use picture profiles inside the camera. I use the Technicolor picture profile for DSLRs. But i have some problems getting back the proper colors in post. Basically what you do in post i need to do half inside the camera and half in post.
super. is there any class on s log?
+vaisakh unni one of these days we'll go full on on the topic of dynamic range.
Thanks for telling us who sponsored this video. Unfortunately, the vast majority of other RUclips how-to vloggers neglect to do that when promoting products they have received compensation to, which I understand can, in certain circumstances, be illegal, and is certainly unethical. Caveat emptor.
It's probably not illegal, but it certainly goes against RUclips's policies, which state that every creator has to make it explicitly clear if the video is sponsored.
god damn i love this dude
i wonder if vegas pro is comparable to the davinci software ...
Hello John , thanks for your videos they are inspiring.
I have a question, i would be doing my first music video which the theme is a happy colorful video with triadic color.
Can I use a fluorescent light to light up the background (blue, yellow ...etc)?
On the other hand, can a fluorescent light act as a main or fill light on set?
Sure you can. The only problem with fluorescent lighting is sometimes they have a color cast. Just do some tests with the lights you want to use and see if it works.
What if we can capture full resolution of red, green and blue without interpolation or mathematical equation?
You would either need to go back to the 3 chip design or live with less resolution. Either way it would be going backwards. The interpolation is really what makes modern video cameras so accessible.
@@FilmmakerIQ true, but i heard there is new sensor technology that can capture all red, green and blue in a single photosite. Its not foveon sensor, its newer than that. But i forgot where i read the articles about it 😔
@@ristanadwicahya maybe, but you can accomplish the same thing going down in resolution. That's really the reason why phones have 8K sensors... It treats a block of RGB photosites as one pixel.
How can I calibrate the 8 bit profiles in my GH5 for realistic color in video without using luts in post?
It has basic contrast, saturation, Hue sliders to adjust but the hue will go too much magenta or yellow.
It has a RGB while balance adjustment option. Should I try that?
Why not just go with the basic non-LOG profile?
@@FilmmakerIQ that's what I'm talking about. I only shoot log when I grade in post. I'm trying to calibrate a color profile in camera so it's ready to go and fast,easy.
The GH5 has a few color profiles to choose from. I find the Natural and Cine- V having the closest to realistic color science so I've been using those. The problem is that the camera doesn't give me the powerful tools like Davinci or Premier in camera to fix the inaccurate color rendering from the camera.
You can adjust brightness, saturation, contrast, Hue but that's it. I recently discovered a option in the white balance menu. There's a strange white balance tool that lets you set a custom white balance, beyond the tungsten to kelvin from a RGB spectrum. I was wondering if that would be the answer
Why would you expect the camera to give you all those tools? That's not what is designed for. Just use the natural color profile
So, when are we gonna work together, Hess?
👍👍
It's interesting you mentioned the Matrix's green tint as film maker's choice. We often get a different product to what the film maker intended at home. The Blu-ray of the Matrix had an overly green cast and the 4k UHD re-release was re-mastered under the watch of The Wachowski's to eliminate that: www.resetera.com/threads/the-matrix-no-longer-looks-like-puke-green-in-its-uhd-release.43451/
How much better is the Black Magic Cinema Camera & Log over a Canon 5d Mk2 and it's Raw format?
+WhisperingChocoTaco Honestly don't like shooting with RAW on the MkII. Feels like it's going to crash at anytime. Shooting a compressed format on the BMCC is solid, easy better than compressed mode in the Canon 5D mkII though I do miss the FF look
Thank you. I'm just going to assume that Magic Lantern doesn't change the crash factor of the 5dmk2.
+WhisperingChocoTaco ML is the reason the MKii crashes ;)
I personally would avoid it with the MKii
Filmmaker IQ Thank you so much. Maybe it's better on the 7d with its double processor. I don't understand why people buy the 7d (and use it in films) when it has such a small sensor. At the moment they cost about the same.
+WhisperingChocoTaco it _was_ cheaper at one point ;) the 7D is also closer to traditional 35mm motion picture film. But yeah 5dmkIi and ML Raw was never a good combo. I can't speak on other models.
"Folks of a certain age..."
ikan mean fish in malaysia
M FAY actually Bahasa Indonesian... the Malays picked it up thru the Dutch/Brit scholastic system to standardize the spoken language..
Remember when Lana Wachowski was Larry? This is actually the first time I see somebody call her by her current name.
oh yes
Bit of a shame. You explained the mechanics of each progression of the medium from the start but after the two strip system of technicolour you started to skip over such important things,
Ie and then came eastman colour, and then came....etc. No mention of how the three strip technicolour process was actully achived with seperat colour dyes. Or where colour emulsion agfa/ eastman came about.. could have shown the physical way film is copied to digital.
A lot of that is in the video before this one called "The History and Science of Color Film: From Isaac Newton to the Coen Brothers".
@@luckyumbasa417 thank you so much, I'll check that out 👍
This is SO out of date. Blackmagic's DaVinci Resolve is at v17 now - this video is talking about v9! Find a newer video to learn about Blackmagic technology.
This video isn't about Resolve. Everything here can been applied to the latest version
The Matrix Green filter fucking sucked!!!!! Even Neo's stubble looked green. Way too much green.
you cheated. you say put more effort to get it almost right on the set and do just a little bit in post. but it is of course much easier to do post with your primary color set than with more harmoneous colors.
All filmmaking is cheating.
But if you start with a deliberate color palette to begin with, all you have to do is fudge in post.
FIRST :::)