Is this actually a VALID reason for shooting in superflat? What do you think?

[Pete Burger]

[Errol Lazare] “Anonymous man – ” You have to shoot superflat to be a professional”
Me – “Why is that?”
Anonymous man – “Don’t ask questions. It’s what the professionals do!””

I suppose your “anonymus man” would’t call Philip Bloom a professional, would he? 😉 He’s using “neutral”

https://philipbloom.net/2010/12/16/setting-up-your-dslr/

Shane Hurlbut uses (or used?) “self-made” picture styles:

https://www.hurlbutvisuals.com/blog/2010/03/30/color-correction-put-your-best-foot-forward/

I read a lot of interesting posts about using flat profiles, especially “superflat” which is very(!) controversial. You might want to do a cow-search and you’ll find very different opinions.

I stopped using “superflat” as I stumbled upon “Marvels Cinegamma” and stopped using “Marvels Cinegamma” when the “Technicolor Cinestyle” was released. The “Technicolor Cinestyle” is – in my humble opinion – the most handy, most clear of all flat-styles. Not saying I’m using it all the time – just “if neccessary”…

But maybe I’m no professional either 😉

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“Tragedy is a close-up; comedy, a long shot.” – Buster Keaton

[Casey Petersen]

Maybe if you are a really good colorist. I have been in this business for almost 20 years and only consider myself “pretty good”.

The issue I was having in my previous post was, why should I be removing contrast and sharpness, if I would only be trying to add it right back in post…especially given the time/effort it takes, plus the fact that 99.9% of my wedding clients would not be able to see the difference between the standard profile and a flat profile (given that I would be color grading each…just more so on the flat).

Here’s a question that goes the other way…have any of you added contrast/saturation/sharpness to a picture profile, rather than reducing it…in effort to do even less grading in post? I might try playing with that someday, just to see what happens.

Casey

[Errol Lazare]

Yes, exactly my point.

Errol X. Lazare
EXL Films
http://www.exlfilms.com

[Pete Burger]

[Casey Petersen] “Here’s a question that goes the other way…have any of you added contrast/saturation/sharpness to a picture profile, rather than reducing it…in effort to do even less grading in post?”

Well, the point in reducing sharpness and contrast is to reduce image artifacts that are created by the the way the sensor “scales” the image down (line skipping instead of real scaling) and by internal camera sharpening and increased contrast (which produces “ringing” and “fringing”). The very heavy H.264 compression boosts these artifacts even more.

Reducing saturation a bit will ensure that no colour-channel is clipped. A clipped colour-channel will give you a hard time in grading.

The goal is to create the cleanest picture possible with those cameras. Sharpening and increasing contrast in post will almost always give you better results due to the better algorithms in your NLEs and the possibility do “just dial in what you need”.

At least that’s what I learned while working with HDV and DSLR cameras the last couple of years.

It’s not, that the pictures those cameras create are bad, but with a clean, neutral picture you’ll almost always have more freedom in post especially when colour-correcting.

Just my two cents.

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“Tragedy is a close-up; comedy, a long shot.” – Buster Keaton

[Phil Balsdon]

The reason to use a super flat profile is to preserve as much information in the highlights and the shadow areas as possible on the original camera files.

This allows the most latitude for images for grading in post production. Without the grading process the “superflat” pictures will look washed out and unattractive.

If you don’t have the time, patience or skills to grade in post don’t use a super flat profile. Use Canon “neutral” or “faithful” or even “standard” or whatever generates a look that you or your client find appealing. The final graded “look” is after all a personal preference.

Use of a “superflat” profile will however generate a better final result with time spent grading in post.

I use the “Technicolor Cinestyle” profile, the same as Peter, for my own productions. For other clients I discuss the matter with them or their post production people prior to shooting. Australia where I live has a very harsh strong sunlight that can make contrast difficult to deal with, so a flat contrast image is very helpful. Using less “sharpness” also assists in minimising “moire” and “aliasing”.

All the video on https://www,trueblue-australia.com.au is from a Canon 7D using the the “technicolor cinestyle” profile.

Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/