I was just in the middle of doing yet more tests to determine the very best zebra settings for the a7s III when I came across this – arguably the single most important step toward getting vibrant, contrasty, High Dynamic Range images in Final Cut Pro – adjusting exposure. Simply pulling shadows down till they… Read More
Part I: Project settings Part II: Color correction Part III: HDR Palette, project render settings Part IV: RAW Part V: Addendum In Part I of our HDR 10 workflow, we covered project settings. In Part II, we go over color correction using the X-Rite ColorChecker Passport Video – the fastest, most reliable, most consistent method… Read More
In my blog post detailing the color correction workflow for HDR10, a reader asked where reference white and 18% gray should fall on the waveform monitor, and I incorrectly answered 100 nits for reference white and in the 40s for 18% gray. While typical white levels presently used in PQ production range anywhere from 145 –… Read More
For whatever reason, whether shooting S-Log3 internally or ProRes RAW via the Ninja V, Rec. 2020 PQ colors are far less accurate than Rec. 709. In the image below, we can see that the color chips of the X-Rite ColorChecker Passport Video line up almost perfectly on the vectorscope in Final Cut Pro in rec.… Read More
One effortless step toward the cinematic look is to place an HSL curve at the very beginning of your grading workflow (after applying Leeming LUT Pro) and desaturating shadows.
Alongside the newly released Pro II LUTs, Paul Leeming has also given us Athena LUTs, which he says “are a brighter version of Pro II, designed around placing middle grey (also known as 18% grey) at the 50% IRE level after the LUT has been applied, while retaining the same perfect colorimetry”. Both Athena and… Read More
If the audio sounds a little better in this tutorial, it’s thanks to Serge M’s wonderful guide to using the Audio Compressor effect in Final Cut Pro.
I almost always shoot Cine2, but a question from a forum member over at DPReview about noisy footage at ISO 3200 inspired me to whip out my a7 III and try out S-Log2 for only the second time in two years. I dragged the clip into the Final Cut Pro timeline, threw on Paul Leeming’s… Read More
Update: Do not calibrate your external monitor with a Mac. See here. In a previous post, I noted that my iMac prevented me from installing calibration software downloaded from the Asus website. I sent a message off to Asus technical support, but they’re pretty shiite. Apple support is better by miles. I since learned that… Read More