[Chris Wright]

well, show me the well lit screen with my low light lut, jk! btw, are you going to make any more movies?

how to edit xmp files:

you can make your own look that is very high quality for free!

lut creation instructions:
grade inside photoshop convert video to smart object or just grade one png frame, and open as adobe camera raw, then save preset as .xmp. then you download
https://sellfy.com/p/aQ1y/
after generating its lut table, take that png into photoshop, apply your .xmp preset in adobe camera raw and save-as a new filename.
then open iwltap lut creator(click its question box to select 64 cube) and select the new filename. it will create a brand new 64 cube lut.

[Chris Wright]

i get your point, but I did notice that underexposed footage has some unique characteristics like:

1. strange highlights with colorful detail mixed in
2. bluer/more saturated shadows
3. compressed midtones

this may not work for all kinds of low light stuff, but my suspicion is that it will get you there faster, especially if you have the original editable xmp!

[Chris Wright]

I don’t think it can.
https://www.markertek.com/product/rol-vc-1-dl/roland-vc-1-dl-bi-directional-sdi-hdmi-with-delay-and-frame-sync

[Chris Wright]

here’s the low light test. I tweaked the highlights so details can path through and changed blue/green hue in shadows. skin looks same. after this, you would need to run neatvideo to remove grain. but it would be a good intermediate for denoising.

https://f1.creativecow.net/11675/low-light-gh5-log-to-rec709-indoors-with-window-64-cube?uploaded=file

[Chris Wright]

full sized png is sufficient for vlog nighttime work. if you record 10 bit video, I could compare with a png with trillions of colors instead of only millions of colors. not completely necessary because photoshop defaults 16 to image generator, but it would be interesting to see how it affects grading in low light 8 bit vs 10 bit.

I would further like to review the new all-i codec 400mpbs and anamorphic quality as well. do you have an anamorphic cine lens?

[Chris Wright]

getting the curve shape is the most important. i raised the blacks 2%. anymore than that and the image will look like log, lol.

did you know that you can use the arrow keys in photoshop’s raw interface on the curve keyframes?
you can move one pixel at a time and the curve barely moves . pretty neat.

do you have any nighttime or low light footage? anything with colorcasts from lamposts or sulfer lights? anything that
may be grainy? both low contrast and high contrast dim light.

https://f1.creativecow.net/11669/indoors-raised-blacks-2-percent-and-gh5-neutral-raised-blacks-2-percent-luts-and-xmp?uploaded=file

[Chris Wright]

thanks! the more feedback I get, the better the results. and a lut for nightime isn’t a bad idea at all; I don’t think they even exist.

[Chris Wright]

this is an excellent example of how lut’s won’t work 100% of the time. at best, they will get 95% the way there, but due to lighting changes, temperature changes, reflections, they aren’t perfect.

to demonstrate, I went back in, and made the lut work for indoors. I tweaked the highlights so that they rolloff differently and still maintain contrast and lowered green response. obviously, this lut wouldn’t work outdoors as well on grass.

the green is reflecting into the glasses, so you either have to remove green/ cyan hue/saturation(which changes the wall) or go in with a garbage matte in post.

I have attached the lut and .xmp so you can edit
https://f1.creativecow.net/11663/gh5-indoors-lut?uploaded=file

[Chris Wright]

just set zebra slog2 for 70 ire for skin either off talent or from 18% grey card, then back off a little. skin should fall between 50-80 ire with no noise as it slightly overexposes 2-3 stops to match how slog2 handles shadows. custom white balance each shot and set native iso to 1600 for most dynamic range. if possible, use ND’s instead.

watch histogram for dynamic range and clipping if taking the whole scene into consideration.
if your exposing for highlights, set zebra for 109 with slog2. skin should not go below 50 ire or you’ll get color noise.
for focusing, you can use gamma display assist-slog 2 to see in srgb.

[Chris Wright]

your monitor should be calibrated srgb with a spyder. premiere and ipad are srgb, there’s a iPad Pro 9.7 that can do dci p3 with embedded color management profiles with colorsync support. AE should be set color management off(to be simple), to match monitor. all of this is assumed correct if truetone is turned off on the ipads so they don’t change color with ambient lights. gamma is assumed 2.2

photoshop needs convert to profile/view profile srgb. nvidia control panel should be 0-255. ignore qucktime player(it uses 16-235=wrong) instead use vlc with opengl video output to match premiere.

if you have any color management stuff that isn’t srgb native, then in AE, use its utility color profile converter and burn in srgb, then send back to premiere.