Pete Burger
Forum Replies Created
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I uploaded a couple of Picture Styles on my 550D (or T2i, as it’s called in the US) and to my experience it doesn’t matter for what Camera the Picture Style was originally intended. So the 5D and 7D styles do work on my 550D as well. To my knowledge the Canon Picture Style Editor is the same for all Canon cameras, so the files (and styles) it produces are the same as well.
I have a couple of Picture Styles on my hard drive, but to be honest, I don’t use them at all. I collected them from all over the web and had quite a fun time fooling around with them.
Most of the time I stick to Neutral and Faithful and in (very rare) projects, where I have extra time for grading or in extreme low light situations, I use Superflat, which I find a bit hard to grade.
O.K., and then there is the “Lomo” style – thats a cool one! 🙂
All the best,
Peter!
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Glad, I helped!
From what I read, the Canons “Neutral” style provides the best dynamic range, while the “Faithful” style has the most accurate colour representation.
So colour correction might get easier with “Faithful”. I haven’t done any explicit testing, comparing those two styles, but it seems, that with contrast -4 and saturation -2 the dynamic range is comparable. -
With “Neutral” try to decrease the amount of saturation and contrast (about two ticks down) and maybe reduce sharpness as well to your liking. Most people would agree to reduce sharpness completely and reintroduce it in post.
Out of curiosity: What picture profile did you use on your V1?
I use a custom one for my V1, that I modified from one, I read about in a BBC whitepaper for the V1. It’s kinda flat and makes it really easy to match DSRL footage and the HDV footage.Edit: There are a couple of picture styles for the Canons out there (like “superflat” or “Marvels Cinegamma”), that produce very flat looking pictures. But those are sometimes hard to grade. I never experienced any problems, but from what I read, it seems there have been problems with “superflat” concerning skintones.
Maybe want to take a look at this:
https://www.steveoakley.net/template_permalink.asp?id=172
60D Test with various picture profiles and settings -
Is there a way to change compression settings with your Nikon? Everything that is in focus seems to be ok, but all the parts that are out of focus, have a lot of chroma noise and are very blocky… So to me it looks like heavy compression artifacts…
Did you switch all image enhancing methods to off (supposing there are any – the canons have “auto lightnig optimizer” and “highlight tone priority”, which sometimes create weird artifacts)? -
I have a Canon cam myself, so I can just guess…
The Canon cameras save a thumbnail file for each clip, that contains all of the meta-data (EXIF) of the clip and can be read with an exif-viewer. Don’t know, if the Nikon does something similar. Watched your Youtube-clip and it is indeed grainy. I’m not sure if it’s the Youtube compression, but I would suggest there is something wrong with your ISO settings. Are you sure you were shooting manual with low ISO? -
No, I mean, what were your recording settings, like aperture, ISO, shutterspeed etc…
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What were you’re settings?
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So the quality loss (if there is any loss at all), can’t be produced by transferring.
Do you watch your clips in your NLE or in a player like Quicktime or VLC?
If watched in your NLE, it can be a NLE issue (wrong settings). -
How did you transfer the files? If there wasn’t any transcoding involved in transferring, the clips must be the same quality.
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You should have no problems when lighting the greenscreen properly and if you try to avoid spill. Since you are trancoding to ProRes, you’d be save.
I’m working on a PC with After Effects and did quite a lot of greenscreen work with the T2i and 5DMkII (transcoded to Quicktime as PNG or to AVID DNxHD), works pretty fine. The only two things I had problems with, were motionblur (very hard to key) and sometimes too shallow DOF, when the outlines of the talent was blurred (also hard to key).