Working with LOG Footage & Creating Your Own Lookup Tables
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This document outlines a session agenda on capturing and processing video in log format, emphasizing the importance of preserving highlight and shadow information for post-production. The course, led by Rich Harrington, covers the technical aspects of log recording, including various log formats, color correction, and the use of lookup tables (LUTs). It also provides insights into video file quality, external recording options, and the essential equipment for effective video production.
Working with LOG Footage & Creating Your Own Lookup Tables
- 2. Session Agenda ● Recording options for log ● Configuring cameras to recording in log ● Monitoring log recordings ● Following typical camera workflows ● Getting ready for post ● Using log files in Premiere and After Effects ● Using log files in Final Cut Pro X ● Managing and manipulating lookup tables
- 3. Working with LOG Footage & Creating Your Own Lookup Tables Taking control of your footage and acquisition facebook.com/ RichHarringtonStuff linkedin.com/in/ richardharrington twitter.com/ rhedpixel
- 4. Description Capturing video in log tells the camera to record more from a scene—meaning you’ll be able to recover more from your highlights and shadows and adjust more colors and tones in post-production. In this course, join Rich Harrington as he shows you how to record video in log, process the files, and complete a post-production workflow.
- 10. Richard Harrington I'm a visual storyteller exploring the fusion of photography and video. I'm also a husband & father
- 11. Vital Statistics • Author 40+ Books • Author 200+ Video Courses • Publisher of Photofocus & ThinkTAP Learn • Conference Speaker • Business Owner • Photographer
- 13. Past Projects • America Online • American Diabetes Association • American Israel Public Affairs Committee • American Red Cross • Apple • Children's National Medical Center • Department of Veterans Administration • Drobo • Federal Communications Commission • Google • lynda.com • Microsoft • Skylum • Smithsonian Institute • Under Armour • US Air Force
- 14. Advisory and Consultant Projects • Television Networks • ABC News • CNN • Discovery Channel • Major League Baseball Network • NASCAR • Turner Networks • Technology • Adobe Creative Cloud Advisory Board • Apple • Athentech • Pearson Education • Skylum Software
- 16. The Technology at Work
- 17. It’s All About Information • Raw, Log, HDR all about capturing & presenting the most information possible • The closer we get or even beyond the human eye the better • Dynamic Range • Color • Gradation • Resolution • Lots of math behind all the acronyms • Focus on the idea of ‘Better Pixels’
- 18. Log & Raw- Not The Same • Logarithmic Encoding • A way of preserving more highlight & shadow information • Multiple log curves exist depending on manufacturer • Usually gamma/color matrix converted in postproduction • Raw Recording • Bypassing a lot of in-camera processing • Provides an extreme amount of data to manipulate • Many parameters exist as controls to manipulate in post
- 19. ‘Regular Video’ • What you traditionally think of as video • Parameters are 'baked' into the signal • White balance • Exposure • Color space • Codec • Limited dynamic range • Ease of use • Limiting for maximum flexibility in postproduction
- 20. Background Of Log Recording • Logarithmic - Yes! It’s Math! • Log is processed footage • Use of Log encoding made popular by Kodak’s Cineon System for scanning film • Log scans meant to correspond to density of the film and to preserve those values in a digital format • Same idea employed with digital acquisition • Manufacturers all have their own “flavor” of log
- 21. Common Log Formats • Arri LogC • Sony S-Log, S-Log2, S-Log3 • Canon C Log • Blackmagic Log (Film Mode) • Panasonic V Log • All Log formats will look flat and desaturated • Log formats paired with color matrix
- 22. The Use of a LOG color profile
- 26. 4K Shooting Tips
- 28. Shoot Log or Film Space
- 29. Sony S-Log Panasonic V-Log Canon C-Log Flat profiles provide more flexibility during post processing, but usually requires more time.
- 30. Focus Peaking
- 31. Focus Peaking
- 32. Using an External Recorder for Uncompressed Recording
- 33. External Recording • When frame rates higher than 30 fps at 4K resolution • With older cameras that don’t offer internal 4K recording • Models like Atomos offer external monitoring, focus assist, waveform • Can record deeper color depth (10 bit) • Records Uncompressed 4K and audio (internal is always 4:2:0) • Longer record times, on affordable media like SSD drives • Records to familiar codecs like Pro Res, Avid DnX
- 35. Atomos Shogun 4K • 1920x1200 IPS Touchscreen Display • Records 4K (3840x2160) up to 30 fps • Records 1080p up to 120 fps • ProRes and DNxHD 10-Bit, 4:2:2 Encoding • 12G-SDI Input and Loop-Output
- 39. Odyssey 7Q Atomos Shogun SmallHD DP7
- 40. Factors that Affect the Quality of the 4K Video File
- 41. Flavors of Log
- 42. The Flavors Of Log
- 43. The Flavors Of Log
- 44. The Flavors Of Log
- 45. What Does a Log Shot Look Like?
- 46. What Does a Log Shot Look Like?
- 47. Beware Of ‘Fake Log’ • Don’t confuse flat for log • Shooting with reduced contrast, sharpness and saturation can help - but its not log recording • Many camera ‘profiles’ try to approximate log recording • All hope is not lost! • Most camera manufacturers employing true log recording even on new entry level cameras
- 49. Colorchecker Targets for Video
- 51. ColorChecker Passport Video • A complete solution for accurate color balance and control – from capture to edit • All-in-one pocket-sized convenience in a rugged hard case with four different targets • Ideal for on-the-go convenience or studio use
- 52. ColorChecker Video Control for critical work and studio
- 53. ColorChecker Video • A complete solution for accurate color balance and control – from capture to edit • 2 targets in one with additional color chips for additional color information • Larger format is great for camera checks, and for wider shots, both in studio and on location
- 55. Check Four Issues with One Tool
- 56. Video Color
- 57. Video Chip Target for Color Control • Chromatic Row – Yellow, Red, Magenta, Blue, Cyan, Green • Range of skin tones from dark to light and different undertones • Linear Grayscale steps for even gray balance, with extra steps close to the highlight and shadow regions • Highlight and Shadow grays including a high gloss black to ensure it is dark enough to capture the range of a digital Camera
- 58. How do you Read a Vectorscope? Colors on a Vectorscope will always appear within their specific regions. Saturation is determined by the distance a point is from the center of the scope
- 59. How do you Read a Vectorscope? Hue is determined by the distance a point is from from the center of a region Neutral white balance is indicated by white in the center of the Vectorscope
- 60. How is a Vectorscope Used? Using a three way color corrector or curves, the color shift can be corrected so that each color lines up properly on its vector.
- 61. Color Layout of New Target
- 62. White Balance
- 63. White Balance Target • Creating in-camera white balance helps to start at a neutral point for all images you capture • Eliminate color casts • Make post production color editing faster and easier by eliminating the need to neutralize frames individually
- 64. Automated Workflows • DaVinci Resolve • http://bit.ly/xriteresolve • Color Finale for FCPX • http://try.colorgradingcentral.com/colorfinale/
- 69. Scope Check
- 70. Gray Scale Target • White, 40 IRE Gray, and Black • align the exposure and contrast of cameras you may be matching • help ensure that mid-tones, such as flesh tones, are rendered accurately
- 71. Waveforms
- 72. False Color
- 73. Zebras
- 74. Focus
- 75. Focus Target ๏ Facilitates center and edge focusing ๏ Combine with focus peaking ๏ Useful for testing lenses and resolution ๏ Quick reference for field
- 76. The Essentials Of The Look Up Table
- 77. The Look Up Table • Otherwise known as a LUT • LUTs serve multiple purposes • Calibration • Data/Color space transformations Log > Rec 709 • Creative uses - film stocks/looks • Source of A LOT of confusion
- 78. The Look Up Table • R = S + L • Dumb math! • Unable to analyze exposure • Unable to analyze color balance • Hard coded & can’t change without external modification • 1D and 3D LUTs • 1D LUTs treat each color channel independently • 3D LUTs treat color channels in combination with one another
- 79. Before & After The LUT • Remember! LUTs aren’t ‘smart’ • When improper signal is processed by a LUT • Contrast off • Color off • Signal clipped • ‘Fighting’ the LUT • 3 Node/Layer approach works well! • Grade before LUT to ‘prepare’ shot • Apply LUT • Post LUT grading
- 80. Do You Really Need A LUT? • Maybe… • Quick turn around • Creative looks can be very useful • Probably not! • Technical/Input/Conversion LUTs add contrast/saturation • Look LUTs are often made from actual grades • The colorist approach • Manual grade for initial transforms • If LUTs are used, use them for creative purposes
- 81. LUT Creation • LUTs are easy to create! • But hard to get right! • Possible banding (LUT Resolution) • Format compatibility • Not working for a variety of shot content • All color apps & some NLE’s will allow for LUT export • LUTs only support direct pixel manipulations • Primaries not secondaries
- 82. Suggested Tools • My go to tools: • Lattice (videovillage.co) • Mac only very - GUI driven • Very intuitive • Lightspace CMS (lightillusion.com) • Full featured color management tool • Calibration • LUT manipulation • LUT workflow tool
- 83. LUT Manipulation • LUTs are easy to create! • But hard to get right! • Possible banding (LUT Resolution) • Format compatibility • Not working for a variety of shot content • All color apps & some NLE’s will allow for LUT export • LUTs only support direct pixel manipulations • Primaries not secondaries
- 91. Two Free Classes | http://bit.ly/ttlmax2free
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