Posts Tagged ‘style

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.

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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…
08
Aug
11

AF101 / AF100 vs GH2 vs ? – Stop moaning, Start shooting!

af100 af101 cinematized ssv

Courtesy of Shooting Star Video

When i bought a demo Panasonic AF101 two weeks ago, and tweeted about it, i received an unexpected number of negative responses. Not that the responses were negative as-such, but were mainly providing me with links that showed me that i’d made the wrong choice. People were eager to point out that the AF101 sucks and that there are much better cameras on the market today. I had to endure watching crazy comparisons with Red and Sony F3 cameras (that cost 4 times the price of an AF101) and even with the Canon 5D and 7D, in order to learn that the Panasonic AF101 is probably even worse a camera than the 900 euro Panasonic GH2.

But thank you all, i knew all that the moment i bought this camera. Before i get into detail about the possible shortcomings, and explaining why i still went for this camera, ¬†let’s see what some shooters have found testing the AF101. I’ve included links to the discussions.

 

  • bad handling of highlights, color channels burn out easily and give these parts a nasty yellow hue – link¬†– link
  • “plastic-looking” skintones when not correctly exposed (see the point above) – link¬†– link
  • noisy, and the noise is¬†linearly distributed along the gamma curve; so: noise everywhere – link¬†– link
  • the BBC has tested this camera¬†thoroughly and came to the conclusion that the sensor sucks with less than 1300 lines and a lot of distortion – link
  • it has an old HVX type of sensor and not the new GH2 type generation; it is not suitable for taking stills or according to some, not even suitable for shooting HD video
  • ¬†it is a commercial hype; a cheap DSLR in a videocam housing and the rest is a lot of marketing – link
  • the affordable Panasonic GH2 is better than the much more expensive AF101 – link
If you read the articles carefully, including the comments, you learn that 33% of all “problems” can be solved by properly exposing and dialing down the detail settings. Another 33% of the camera-bashing is delivered by people that have never used the camera themselves and judge quality based on Vimeo movies. The final 33% base their judgement on comparing the camera with the Sony F3, a camera four times as expensive as the AF101.
Did i start worrying after reading all the provided “thumbs down” links? Well, to be honest…. a bit…
I was very happy and even a little surprised to see that the camera performed surprisingly well in The Great Zacuto Camera Shootout 2011, episode II
When i finally had the chance to play with the camera for a few days, i was able to redeem all the bullshit about this camera. When properly set up, using the flattest picture profile, with “Detail” AND “Coring” dialed down all the way (-6 or -7), properly exposed using the great waveform monitor, this camera DELIVERS! With the right lens (Voigtlander Nokton 24/0.95 or better) and maybe occasionally underexposing 1/2 to 1 stop, you get your filmic quality.
Oh, yeah… Since i own both the GH2 and the AF101, i can tell you that the whole “The GH2 is better than the AF101” is another myth, plugged by GH2 fanboys, and regularly by people not even owning either one of these cameras. They can hardly be compared, specially if the¬†comparison¬†is done based on charts. The AF101 sensor works in a totally different manner. It derives perceptual detail in a totally different and also inventive manner compared to the GH2 (using aliasing as a vehicle). The perceptual detail of the GH2 could look better when shooting charts, but the GH2 is using straight-forward electronic detail-enhancing that you can’t switch off AND uses a totally different way of rendering the picture from chip data.
Recording from the HDMI output using the Atomos Ninja recorder delivers great images from both the GH2 and AF101, but they are different! I can’t say that one is better that the other, just different.
My personal feeling is, that the GH2 has smooth roll-off of highlights by using a kind of auto-knee mechanism. It protects the highlights, but only up to 100-ire! This is a pure consumer camera that performs best as a run-and-gun camera. The AF101 has several controls for protecting the highlights, as well as a 110-ire range! Considering this, the GH2 has less latitude than the AF101 when both are exposed “to the right”; the GH2 up to 100-ire and the AF101 to 110-ire (“super-white”). The AF101 is not a consumer camera, simply because it’s too complex for most amateur users.
Out of the box, the AF101 is NOT a run-and-gun camera at all; it will produce video-like images, instead of the GH2. The AF101 is a video camera, the GH2 is a photo camera. At least, out of the box that is.
People who don’t understand how waveform-monitors, picture styles, matrices, gammas and knees work, should not even consider testing or reviewing the AF101, and keep their comments to themselves…
To loosely quote Philip Bloom: stop shooting charts, start shooting people!
Fort those interested. I’ll publish our AF101 settings in the following post.
Cheers!
Martin Beek
Twitter: @martinbeek
07
Apr
11

Marvels Cine style now has it’s own page

On this blog you’ll find many posts, discussions, questions, examples and articles on the subject of the Marvels Cine Picture Styles for Canon HDSLR cameras. We have decided to dedicate a “sticky” page to our Marvels Cine ¬†style.

At the top of this blog you see a link “marvels cine for canon hdslr“. From that page you can download the latest version, leave comments and add your name and projects to the Hall of Fame!

Cheers!

Matin.

02
Mar
11

Short Free Fall (“Vrije Val”) 2010, full movie on YouTube HD

Honorable Mention & Audience Award – Los Angeles Movie Awards 2010

Shot with Sony EX-1, EX-3, Canon 7D, RedRock M2E DOF adapters

YouTube HD version

IMDb page

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.

19
Oct
09

Canon 5D/7D Picture Style with Cine-gamma (S) Curve – free download

UPDATE: please check out our new style and download page HERE

Stay up to date by “Liking”¬†http://www.facebook.com/marvelsfilm




UPDATE November 26th 2010: a new profile has been launched in addition to this one, check out: Marvels Cine 2.1 Panalog profile

We have worked on a Cine gamma picture style for the Canon 7D camera for the last few days, that can be compared with our PP settings for our Sony EX-1.
I think we might have a little premiere here – to our knowledge this is the first release of a Picture Style on the web for the 7D..!
Thanks to my collegue Bart Keimen (Marvels Film) for his measurements, calculations and general maths-mumbojumbo i couldn’t quite follow in the first place… ūüėČ

The Canon 7D standard picture, also with Contrast dialed down, was too punchy for our taste as well as too saturated. With this new picture profile you can achieve a more refined “Cine” look.

This Picture Style, that can be downloaded to your camera with the EOS Utility, introduces a S-gammacurve that lifts the black levels is shadows and “low-mids” and compresses the highlights, resulting in an over-all increased latitude – and a decrease in contrast.¬†This can be compared with a Sony Hyper Cine Gamma profile. Some viewers will translate the picture as “flat”, but it will give you much more control in post. Also, this profile is ideal for use with these particular 7D cameras that have problems with the Highlight Priority setting; the dynamic range of this profile has already been “moved” towards both highlights and blacks.

In isolation, I find that the cine gamma look is a bit more ‚Äútrue to life‚ÄĚ; it handles overexposure more gracefully, and IMHO looks a little bit more like the way film handles highlights.

Since you still have control over the Picture Style settings, you can adjust the strength of the S-Curve by changing the Contrast value. Move it down to exaggerate the S-curve and move it up to flatten the S-Curve (more linear).

panasonic-42phd8-plasma-tv-s-gamma

Marvels Film Cine-gamma S-Curve v 1.2 curvature

We have compiled a Picture Style for download. The sharpness, tint, saturation and contrast settings can still been altered.
You can download the Picture Style to the camera’s “User Def. 1” memory by using the Eos Utility as follows.

  • Download the following Picture Style file to your local harddisk (one file in ZIP archive): http://www.martinbeek.net/canon7d/Marvels_Cine_Gamma_7D.zip (updated oct 23 2009)
  • Unpack the zip archive
  • Connect the camera through USB and switch it on in LiveView
  • Start the program and select “Camera settings/Remote shooting”
  • In the middle of the control screen, click “Register User Defined style”
  • Select User Def. 1, 2 or 3 at the top of the new page and click the button with the Open File icon
  • Select the¬†Marvels_Cine_V1.2_rel.pf2 file
  • Click on OK
  • The Picture Style is now downloaded to your camera. First close the Eos Utility before you disconnect the camera
  • Enter film mode and press the Picture Style selection button (the one under “Menu”) at the back of the camera
  • Use the thumbweel on top of the camera to scroll through the styles; you will see “Marvels Cine 1.2 ¬†as new selectable style
  • Happy shooting!

Cheers!

Martin Beek.




twitter.com/martinbeek

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