It tells us nothing about whether "ISO 100" is the closest to the original digitization, or ISO 125 is and 100 is a 1/3-stop pull, or any such information. That means that you can expose for ISO 60 at the ISO 100 setting, and get the amount of highlight headroom that DxO considers to be sufficient. If it is not possible gauge highlight needs in real time, then I will allow lower ISO settings than I might get away with for most shots.ĭxO only shows us that their highlight-headroom based method of measuring ISO shows ISO 60 at the 100 setting. I find many other factors to more more useful to consider in real-world shooting, though, depending on the situation. The X-T4 adds an in-camera preview LUT, so you can record flat footage. You get the best potential IQ by giving the best absolute exposure that you can, and use the highest ISO setting that doesn't clip away desired highlight details. XF 16-80mm, 16mm, f/4, 1/100-second, ISO 12800. The idea that you can find out what ISO is "native" and use it, and enter into some higher level of image quality, is a myth. 35 conversion LUTs for VariCam cinema cameras can be downloaded free of charge for use in the LUMIX GH5 II. Handheld ISO test: Its pitch black outside apart from the lamplight. My opinion is that "native ISO" is a metric looking for a definition. I don't find anybody talking about two different native ISO for photo and video, thus there must be only one, isn't it? Panasonic GH5S vs Panasonic GH0 In this sample image you can clearly see despite of having low resolution the Panasonic GH5S has 10 Megapixel sensor getting very clean images. We clearly see on Dxomark that the best performance is at ISO 100: I'm getting more consistent and accurate results by debayering (to Cinelog in the case of Canon DSLR RAW but I also get great results with GH5 VLog 10bit) and then adding curves and a LUT.I don't understand, some videographers say GH5 native ISO is 400. I've dabbled with trying to introduce the film emulation as a DCP profile, but the results aren't very good. My methodology is first to match the general contrast and colour shift using curves, and then to fine tune exact hue and saturation reproduction for various colours using a LUT. Each LUT is customized to work with different shooting situations. You end up with bracketing tests where the brightness doesn't seem to change much, but the colour and contrast does: The GH5 LUT files are compatible with just about every video editing software under the sun, so you no longer have to worry about which pack to match with your software. But when negative film is scanned by a lab, the scanner usually automatically compensates for these exposure differences. I'm a gaffer/grip more than a camera guy. : Cinematographer/director Paul Leeming has released version 405 of Leeming LUT One for the Panasonic Lumix DC-GH5 Micro Four Thirds Super 16 stills/video hybrid camera and he has nailed it in obtaining the best video tone, colour and dynamic range of which the camera’s sensor is capable. We are used to exposing plus or minus one with our digital cameras, and seeing a noticeable increase or decrease in brightness. I spent a day lighting a gh5 shoot and afterwards the DP and I were given an hour to 'have a play' with the camera. In addition, contrast and saturation increase as exposure increases with film, and there are various colour casts in the shadows and highlights at different exposure levels. It's not particularly straightforward! Each film stock has different characteristics in how it renders certain hues - Portra 400 may have warm greens and tan skintones, whereas Fuji 400H will have cool, minty greens and pinkish skin, for example. Here's how my Ektar luts look on the XC10: Panasonic GH5 Slow Motion 180fps Image Quality compared to 25fps. All of this takes time, of course, but it's a great skill to develop as you will be able to match cameras fairly closely. Once tonality is matched, it's time to match the colours. Use curves to match one to the other (split-screen one on top of the other and match the curve on the waveform) Now you have a map of the tonality of eachħ. Separate them out into individual squares, arranged horizontally. Take a series of videos, lowering by 1/3 stop each time until you get down to 12 stops (36 videos)Ħ. Find the point at which each camera clips highlights 100%Ĥ. Colour balance each camera against the white image and slightly defocusģ. I spent a day lighting a gh5 shoot and afterwards the DP and I were given an hour to 'have a play' with the camera. I did this with my XC10 and now I can match that easily to my 5D3.Ģ. However, if you'd like to use it with your Sony I would suggest first making a lut to match SLog2 to Cinelog in terms of tonality and colour. The lut is designed for ML Cinelog footage. Well, I don't have any Sony cameras so can't help you out there.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |