Posts Tagged ‘profile

24
Apr
15

Additional notes on my Cine Style Pofile

The Marvels Cine Style Profile for Canon DSLR is free to use (also professionally/commercially) and to share, with the sole exception that you may not charge money for it.

If you like the free Marvels profile,¬†we invite you to make a small donation via PayPal by clicking the link below. This is voluntary and much appreciated ūüėČ

Each year around the¬†23th of December, i donate at least 50% of my¬†yearly ‚Äúpicture style income‚ÄĚ to charity, via¬†eBay¬†GivingWorks and ¬†(previousely) eBay MissionFish. Between 2011 and 2015 i donated 554 dollars to 4 different charity projects, thanks to your generous donations.

Donate HERE by PayPal or Creditcard if you use our Picture Style.

It’ll be¬†well spent!

Martin

22
Apr
15

“Marvels Cinestyle for Canon cameras” page has been updated

I have updated the Cinestyle page with new download links and extra info.

You’ll find it at the top of this blog under “marvels cine for canon dslr“.

Another good read on the subject is “Installing Canon Picture Styles for Dummies” (no offence ūüėČ

Do not forget to read the original article (with the Phil Holland tests) “Finally,¬†the new marvels cine profile 3-x for canon dslr“.

Cheers!
Martin.

28
Dec
11

Marvels Picture Styles, Plugins and donations

Marvels film, Jorgen Escher (colorbyjorg.wordpress.com) and i have published a number of free Picture styles (a.k.a. recipies, picture profiles, looks) and a free plugin for Final Cut Pro.

I don’t want to link to the files directly here, but list the URLs where you can download the latest version of each.

All these products are free and free to use (also professionally) and to share, with the sole exception that you may not charge money for it.

If you like the free Marvels profiles and/or plugins, you can make a small donation via PayPal by clicking the button below. This is voluntary and much appreciated ūüėȬ†Donations will be spent annually (usually around Christmas) as a donation to a good cause.¬†On december 23th 2011, the amount of 414 Euros was donated to Save The Children, via eBay MissionFish. Thanks for your donations!
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  • Marvels Cine Picture Style for Canon DSLR cameras v.3.4
    This special picture style for Canon DSLR (video) D-series cameras such as the 1D, 5D, 7D, 50D and others, has become very popular by both DSLR enthousiasts and professionals equally. Several feature films and many short films shot by the Canon 5Dmk2 have been shot using the Marvels Cine picture style.
    Also referred to, in many publications on the web, as:¬†Marvels Advance,¬†Marvels Flat,¬†Marvels Cinestyle,¬†Marvels Cine,¬†Marvels Advanced flat,¬†Marvels Panalog, and other…
    These are all names for one and the same product and it’s official page is here:¬†https://marvelsfilm.wordpress.com/marvels-cine-canon/
  • DSLR Moire Filter for Final Cut Pro v.1.01
    This FCP plugin battles the disturbing problem of micro-moire. Micro-moire manifests itself as red/blue color streaks and pixels that appear in natural and irregular patterns, such as hair, water and grass. Micro-moire is seldom visible on the camera’s LCD display and sometimes not even on a 7? external monitor. Many a good shot has been spoiled. Get them back off the shelf and run them through this new filter!
    Cameras that are prone to deliver this artifact are the Canon D series DSLR cameras, such as the 5D, 7D, 50D and others.
    The official page is here: http://colorbyjorg.wordpress.com/plugins/
  • Sony EX-1 flat picture profile for cinematic look¬†
    Before we had HDSLR cameras, i had to use either 16/35mm film cameras or HD videocameras with a “Depth of Field” adapters. I’m glad to say that this all belongs to the past now, but i still have fond memories of my first Sony HD camera, which was the EX-1 and later the EX-3. We used both the RedrockMico and Shoot35 DOF convertors and Nikon & Zeiss lenses. To program the camera in such a way that the imagery was matching 35mm film, we developed this picture profile.
    The official article is here: https://marvelsfilm.wordpress.com/2010/04/24/all-new-sony-ex1-picture-profile-for-cinematic-look/
  • Red Epic & Red Scarlet looks files: coming soon…
18
Feb
11

Questions about the elusive Cinema Film Look

I receive questions from people all over the world regarding Film Look and Cine Style shooting on almost a daily basis. What people are trying to achieve, is to match their prosumer camera’s image, with what their eyes are seeing on the big screen (let’s call it that for now – you might say “Hollywood movies” or “Blockbusters”…).

Here is what i have to say to those people. It’s a kind of mash-up of the many email answers i’ve sent and replies i’ve given on this blog.

The part below starts with a reply to a question about making a “Red” picture style for Canon DSLR cameras, that i’ve left in place here.

First, footage directly out of the RED is Raw and looks very flat and desaturated; it will most certainly not look cinematic or specifically “Film Look” at first sight. The footage will be graded to the colorgrader’s personal taste and he can make it look more like film, or even look like cheap video. I have seen a LOT of Red footage that didn’t have the Cinema Film Look at all! So, getting back to your question, you could also say that you want to copy/import the looks of other footage in general. E.g. Avatar. I’ll get back to that later.
Here we come to point two; how do you define Cinema Film Look ?! That’s a very subjective and personal experience. Factors such as shallow depth of field, crushed blacks, nicely roll-off of whites, soft edges but also sharp at the same time, and a certain specific coloration can be named, but each of them might be valued or applied different by YOU.

But let’s get down to earth for a moment… Watched a movie (film) in the cinema lately? Seen the HUGE amount of grain, chromatic abberiation, optical distortion, greenish blacks, flicker, scratches, out of focus, gate movement… et cetera? Is THAT what you are referring to as the Cinema Film Look!? I hope not…

So we have created a whole new idea in our mind, of what the elusive Cinema Look is! Almost a virtual unexplainable awareness of something that does not exist! Or at least something not two people will have the same idea about. It’s 100% perceptual and therefore very hard to explain in our language (which is designed for telling other monkeys where the ripe fruit is).¬†We can agree about the shallow DOF, but the rest is really elusive, intangible. Beauty is indeed in the eye of the beholder…

Watch a Tony Scott movie (“The taking of Pelham 1,2,3”, or “Unstoppable”). If you’d come up with THAT look twenty-five years ago, you’d probably would’ve been declared mad.

Let’s look at Avatar. It’s VERY digital. Everything is crispy crispy sharp. Pores of actor’s faces can be explorer in-depth. But shallow depth? Not really.., at least not exaggerated (DOF is not the friend of special effects people / image composers). Crushed, rich blacks? Not really… Does Avatar look cinematic to you? It certainly does to me! I was blown of my seat when i watched it on the big screen, although i must admit that it has a certain electronic look on my home plasma, on Bluray.

Nevertheless… there must be factors present in less “cine style” movies like avatar that appeal to us. Most of them are indeed hard to explain in normal language, and the others may include the huge color and luminance dynamic range (latitude), the high quality optics that are used, very professional lighting, top-notch camera and production crew, and a whole battalion of digital post processing wizards using equipment and software we will probably never even get to see.

I’ve read somewhere that the costs of Cameron’s 3D cameras, rigs and special monitoring did not even consume 5% of the film’s budget. So, after watching the movie, you can probably imagine where the other 95% went…
I’m sure that color grading and other digital postprocessing of some “Hollywood” movies exceeds the costs of camera rentals and operators, including the DP’s salary.

Avatar is just a extreme example here. If you look at The Social Network, which is a typical Red digital movie, it’s hard to tell if it’s film or digital, if you watch it at home. It surely has the “cinema film look”.

The Tony Scott look has inspired hundreds of filmmakers to use that same “orange and teal” look (Google on that…). It seems to hit a specific neuron in the human brain nowadays, that says “Hey! I’m looking at a blockbuster movie here, and no mistake!”. So why not jump on the bandwagon and buy that Mojo filter from RedBullet and start grading all your footage like Tony does?! Make use of that Blockbuster Neuron!

But seriously, in other words, make use of people’s conception of the Cinema Film Look. But be warned… It might change overnight…
Philip Bloom has shown us how to get tremendous film-like images out of sub-2k$ cameras. It’s all down to shallow depth of field here. Many people followed his example and are now shooting “film” with DSLR cameras. Don’t forget that Philip is a great fan of the shallow depth of field look!

Apart from being pestered with tons of shaky, badly focussed, too shallow DOF footage on the web and even on TV, we’ve also seen beautiful DSLR movies from people that really know what they’re doing, like Philip, Vincent Laforett and many others.
Mind you… those same people would probably also make beautiful stuff with a $400 sony HD handycam as with a Red One…

Still not answered your question, haven’t i?! ¬†Well. To make a long story even longer; it is very very difficult to – as you say it – tricking the colors to be registered in the camera in such a way they mimic the looks of other footage. There are two main factors at play. First, all the footage you probably have in mind to mimic, is shot in a different colorspace and using more bits per pixel. Second, we can only adjust overall R,G,B and luminance of the Canon DSLR cameras, thus doing a primitive primary color correction. So, secondary color correction and all the 101 filters, plugins and tricks the pros use to get to the look you are trying to mimic is out of the question. I think that you might be able to compose the Tony Scott “Orange and Teal” look for a specific shot with your Canon DSLR, but you’ll need studio conditions and lot of time on your hands. But there it stops. Orange and teal is (roughly speaking) remapping of colors in lookup tables, but masking parts of the image, or coloring parts of an image can’t be done on set, or in-camera.
So… Shoot flat, like a Red (rime not intended…)!
Ever seen a 35mm production film-negative? It’s dull and flat and low on saturation… It’s often a bit reddish.

Give the camera the chance to register as much light values as possible, do not over saturate and worry about the looks in post. Get your white balance perfectly allright though.

Download our Marvels Cine Picture Style for Canon DSLR cameras from this link and start shooting! There are several feature films in the making using the Canon 5DMK2, and several TV series (that i’m not allowed to name here…) that are using our new Marvels 3.4 style.

Cheers!

Martin.

24
Jan
11

Installing Canon Picture Styles For Dummies

Just joking; i don’t want to appear¬†presumptuous ūüėČ ¬†Here is a short step-by-step instructions to upload a Picture Style to your Canon D series or T2i DSLR camera, for those who have trouble figuring this out in a hurry. So a better title for this post would’ve been “Installing Canon Picture Styles for the Impatient”. (Looking for styles? Look here and here!)

  1. Surf to¬†Canon’s instructions here, and/or follow the steps below… UPDATE: another nice and useful link.
  2. Install or update the latest version of Canon’s EOS Utility for your PC or Mac from this link: ¬†http://software.canon-europe.com/products/0010513.asp Donb’t worry about the camera model; the software is ¬†identical for all models.
  3. Connect your camera to your computer via USB and switch it on.
  4. Start the EOS Utility and click the menu button “Camera Settings / Remote Shooting”
  5. Select the camera icon (red) and ‚ÄėPicture Style‚Äô.
  6. Click ‚ÄėDetail set‚Äô.
  7. In the new window that appears, Select one of the User Def. items from the drop down menu at the top of the screen, and then click the ‚ÄėOpen‚Äô button.
  8. In the dialog window that opens, select the Picture Style file you have previously downloaded. This will transfer the style to your camera.
  9. The uploaded profile will now reside under the selected User Def (1..3) picture profile on your camera.
  10. Go shoot some footage..!
  11. Stay up to date by “Liking”¬†http://www.facebook.com/marvelsfilm

martin beek picture profile canon dslr flatmartin beek picture profile canon dslr flat

20
Sep
10

HDSLR is dead, long live HDSLR! (Sold my Canon 7D‚Ķ part II)

You all might come to the conclusion – after reading this post – that i am full of contradictions… ūüėČ But, hey, that’s life!¬†The filmmaking world is changing more rapidly than i can change my¬†underwear,¬†and technologies AND the mindset of producers and directors seem to be able to make a 360 degree turn overnight.

After posting my previous post “Sold my Canon 7d…”, ¬†i received mail from people wanting to know if i’ve¬†abandoned¬†DSLR filming for good and if i’d also stop publishing picture profiles for the Canon DSLR cameras. ¬†I have also received encouraging mail from one guy you all know, but who has asked not to publish his name or comments, that i should absolutely give HDSLR another chance by using the Canon 5D MKII, different lenses and a better minimal DSLR rig. He also stressed on listening to his advise this time… ūüėČ

The director of an upcoming documentary production i was asked to do the¬†camerawork¬†for, was alarmed after reading my tweet and article because he “sold” the use of a DSLR camera as a feature of the project; something the producer agreed with and was¬†enthused¬†by. So, after much debate and consideration i have agreed on using a Canon 5D MKII for aforesaid production. I am responsible for part of the budget, so i will be looking into finding a comfy rig, screenloupe, followfocus and choice of lens(es).

Drawing to a conclusion while broadly answering the emails i have received..:

  • The Red Scarlet is in fact also a HDSLR camera, and i am still set on obtaining one as soon as it becomes available. I truly believe that (the specs of) the Scarlet is the future. Alas, for now it still remains a “future product”…;-)
  • I will continue to shoot HDSLR, although with some more consideration and probably B-camera
  • I will (try) not be triggered, inspired or drawn into gadget hypes, such as full production camera rigs with matteboxes , dollies, tracks and the such as a part of HDSLR filming – just a plain simple kit that i can carry in a bag, instead of a wheelbarrow
  • I will – as promised – publish a number of new picture profiles for the Canon vDSLR camera range, together with Bart Keimen who is an ex-colleague¬†and a¬†brilliant¬†colorist, sometime next month, as they are needed for the documentary and other work mentioned. We were planning to do some Kodak, Fuji and other footage stock simulations and also some specific in-camera looks such as “Tony Scott look” – that kind of thing.
  • I will continue to shoot HD+DOF adapter, no worries.
  • I am considering buying Canon 24-70 L series or 24-105 f/4 IS L series lens for the 5D, to be used together with the Zeiss primes i already own. Please respond to this article if you want to share your lens experiences.

I am now off to find a sponsor who can help me out with a DSLR rig with followfocus… Or rob a bank…

Martin

14
May
10

How to perform on-set in-camera (hyper-) gamma adjustment with HD cameras

How to perform on-set in-camera gamma adjustment
by Martin Beek, DP

Update may 14: this workflow does not work with the Sony EX1 & EX3 Cine Gammas; please use Std-3 or Std-4 gamma for these cameras.

In this article i want to explain the steps that i take to get the best exposure and gamma settings, before each shoot. Although it’s common practice for DPs using HD cinema cameras, ¬†there is not much information to be found on the internet on this subject. Of course; we have seen many picture profiles published and there are many discussions on which gamma curve to use under specific conditions, but is usually stops there. Most people don’t take a moment to adjust the camera any more than the way it was set up out of the box; or resolve to using the picture profiles they find on the internet, without alteration. I have always found that each specific scene demands a different setting, sometimes only slightly, sometimes drastically.

Because we publish a number of picture profiles ourselves, i receive questions regarding gamma settings almost weekly – mainly from indie film makers looking for a way to add a more cinematic look to their pictures; exactly what i’ve done on Vrije Val (“Free fall”, IMDb: here) . Now that after two years the world seems to have settled on using one profile or the other , the questions i receive are nowadays more far more specific and are mainly about workflow and detailed gamma settings.

As a start, i have published the steps i take before each shot below Рregarding the setting of exposure, blacks and gamma Р and they generally apply to each camera that offers black, gamma-level and black-gamma settings. Ranging from the Sony XDCam-EX series to the Panavision Genesis and everything in between. For the latter and other cameras that use a LUT and/or RAW workflow such as the RED, the basics of the following still apply, but then partly in a the postproduction stage.

The following workflow is pure technical and skips the whole leading cinematographic process of lighting the scene, defining scene contrast and composition.

  1. Black balance
    If you are using a camera that has a black balance function (on the sony ex-1 in one of the hidden service menus), perform a black balance. Most camera’s will close down the aperture; on others you have to place the lenscap on the lens.
  2. White balance
    A correct¬†white-balance, or a faulty one in that respect, changes the camera’s optical block behaviour and should therefore be carried out with some care. Use a 50% grey card or dedicated white balance card.
  3. Set black pedestal (Black level / master black) – bottom of the curve
    Do this once and leave it alone for the rest of the camera’s life. Connect the camera to a hardware or software waveform monitor (eg. Adobe OnLocation). Set gain to zero, cap the lens. Dial down the Black level until it just rests on the bottom Zero line of the scope. Don’t stretch or crush the blacks – taking master black further down will influence the gamma curve and all other levels of the picture. So leave it at Zero and don’t touch it again. We will use the following detailed gamma controls to darken or brighten the picture.
  4. Set exposure (lens aperture) – top of the curve
    Highlights can not be easily fixed in post, so i always set exposure for highlights. You do this using the lens aperture (iris). Set¬†highlights¬†using the iris around 100-103 IRE. If you only have zebras or histogram available, let highlights come up to the level of being on the brink of burning out. If you are not concerned about¬†highlight¬†detail in a¬†contrast-rich¬†scene, it’s up to you to define “burned out” ;-).¬†If you have to deal with bright skies, consider using a ND.6 grad filter.
  5. Set gamma level – middle part of the curve
    Some cameras offer a course and detailed control over the gamma curve. The Sony EX-1 for instance has a “Level” adjustment on the same menu-page as where you define the gamma type. Use this gamma level for this step.
    Since human flesh tones generally fall in the middle section of picture signal and gamma curve, we can use a human face or a dedicated grey card to adjust the 50-70% range. Use either a waveform monitor, zebras or histogram to monitor what you’re doing. Adjust the gamma level so that the skin exposure or test card falls in the middle range between 50 and 70%. Highlights on skin can easily go up to 70% but leave it at that max for this specific procedure. Bringing the gamma level up will increase the brightness of the middle range and lowering the gamma level will bring it down.
  6. Set black-gammal-level – lower part of the curve
    Instead of crushing blacks and doing other
    terrible things to the signal, we now continue to adjust the lower part of the curve Рthe shadows Рusing the Black Gamma setting.  With this we control how the lower part of the curve behaves and dialling it down makes shadows darker and reduces detail in these areas. Dialling it up makes shadows more grey and will show more information. This setting can thus be used to delicately control the contrast of the scene and to obscure noise and other unwanted information from the darker areas of the picture by lowering this value. On the contrary, e.g. during night shots, extra information can be extracted by raising the black gamma level.
  7. Use your eyes!
    The eyes can be found on either side of your nose and do not have any controls you can access through any of your menus. If you have a reasonable HD monitor that has at least it’s black and white levels calibrated, you should be able to see what your’e doing to the overall picture. Use some common sense too. If you have to increase or decrease any of the levels mentioned over one quarter of the total scale (e.g. -50 on a -99 <> +99 scale), you should consider adjusting the overall lighting and contrast of the scene – if that is something under your control. If you don’t have a reliable monitoring option, use the camera zebras and histogram to judge levels.

The above works best with a gamma curve that – initially – gives you the flattest look; e.g. the Cine Gammas. Choose a gamma that offers you the maximum latitude possible for your specific camera. Since you have full control over the¬†behavior¬†of the gamma curve with the controls mentioned above, there is usually no need to choose a different gamma curve; unless extreme conditions require so. AND DON’T CRUSH BLACKS! Listen to your old DP, please! ūüėČ

Update may 14: for Sony EX1 & EX3 cameras, use Std gamma 3 0r 4, switch off auto-knee, set knee to 88, slope to +15 – to follow this workflow.

I want to conclude with the habitual apologies for my English – i am not a native English speaker.

Please feel free to comment on this post.

Martin Beek.




twitter.com/martinbeek

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