Hi everyone!
Please pay above via the submission form. I will email the tutorial within 24 hours of receiving your payment, likely within the first 10 minutes. The settings I provide will work in any version of Adobe Premiere, After Effects, and Photoshop, as well as any version of Da Vinci Resolve, Sony Vegas, and FCPX (but not FCP7, as far as I know). Please see the video below for any questions you may have. If I receive any questions not answered in the video, I'll put them as a Q and A as a running list at the bottom of this page.
Thanks!
Grant
grantpichla@gmail.com
Q: So is this thing a lut?
A: It's essentially a LUT, or a process with data values, that I built from scratch and can be applied in any of the big 3 editors. It doesn't require any plug-ins or latest versions of PP, FCPX, or DaVinci Resolve.
Q: Is it possible to add an adjustment layer like you have on Final Cut Pro X? I thought you could only add effects like this to individual clips.
A: It will work using a free adjustment layer, which can be downloaded here:
https://www.motionvfx.com/.../adjustment_layers_in_final...
Tutorial on installation and use here: https://www.youtube.com/watch?v=jhlTlPhUPqM
Upon purchasing, I explain how to use it for my color fix.
Q: Do you expose properly or to the right to remove shadow noise with this effect?
A: I expose properly with my cameras but you are welcome to ETTR. This effect only adjusts the colors of the pixels, so your exposure adjustments in post should not have an effect on it.
Q: Can you make one for Panasonic?
A: I certainly could, although I don't know if there is enough interest for it. I don't use a Panasonic so I would require the footage samples and lots of time!
Q: S-Gamut? Not S-Gamut3 or S-Gamut3.Cine? I actually heard the S-Gamut3.Cine does a great job with skin tones...is that bad information?
A: Yes it is specific to S-Gamut for this particular color tweak.
Q: Why does the C100 footage still look different?
A: It'll never be a truly perfect match, but it is very close. There are contrast issues between the two sensors- C-log has flatter highlights and flatter lowlights than Cine4, for example. The C100 clips are also on a 70-200mm, while the Sony is 18-105mm. This will also affect image appearance. On the whole, this color fix isn't about matching anything other than the way colors are represented. Contrast, gain, etc is adjustable after tweaking the color.
Q: How did you go about matching the skin tones? Did you match them on a vector with the same glass?
A: I used the same lens and adjusted each clip's RGB channels based on a color chart. It required more than just adding and subtracting color data... instead transforming the way each pixel is represented. After making the match, I adjusted it over time to better lean towards the Canon skin tones. The color chart match wasn't enough.
Q: Care to explain the "transforming" in more detail?
A: Basically, each pixel in an image holds a certain amount of Red, Green, and Blue. Instead of adding a bit of Red or subtracting Blue from every single pixel using curves, levels, color wheels (for example), my process tells a pixel to display some of it's Red data as Blue. And it tells the Blue pixels to accept more Green. And etc. for the entire shot.
It's like looking at a red apple and saying "the pixels representing this red apple should be displayed at 65% red, and these red pixels should also be 20% blue and 15% green, not just 100% red." And sometimes the greens need to be displayed 140% green and 40% less blue, etc.
Q: Without seeing the two side by side, there really is no way to even subjectively compare the two types of footage. The nature of color is such that your eye will automatically compensate a spectrum of colors to normalize it. The a6300 footage must be next to the c100 footage to properly gauge how comparable they are in terms of color, saturation, hue, and luminance.
A: That is correct, but note that a side by side comparison of a C100 vs a 5D Mark III, 60D, or any other Canon camera will show distinct differences in color, saturation, hue, and luminance. Even a C100 shooting in C-log picture vs Wide Dynamic Range, for example, which show big differences. It is not possible to perfect every variable in every location on every system with every picture profile. What I've developed is a blanket process that basically reverse engineers the overall Sony look so the pixels are displayed in the way Canon's sensors do. It is only for color, not luminance. Thus, the a6300's Cine4 footage, or any other cameras footage, can certainly still apply some lift, gamma, and gain editing based on the colorist's personal taste.