The sharpening you use for a YouTube upload will be different than what you want for a broadcast master, which will be different than a Blu-ray master.
Better to give yourself the option to dial it in later, under controlled circumstances, using the amazing array of powerful post-production tools available.ĭifferent output media require different amounts of sharpening. What worked on the low-contrast charts at your test bench might create horribly over-sharpened results with a high-contrast exterior shot.īaking sharpening into your footage is as permanent as a bad tattoo.
#Cinema picture style for canon t6i 1080p#
What looks good on a portable LCD might look hideous back in the grading suite in your calibrated, 1080p display.ĭifferent scenes can benefit from amounts of sharpening. It’s very difficult to monitor and set up accurately in the field. It tends to be of a poorer quality than what you can do in post. Canon HDSLR video is so soft, isn’t a little sharpening a good idea? I’ve heard a lot of people use Prolost Flat, but bump up the sharpness a bit. It’s easy to set up, and you can coach someone through the process over the phone, or even in a text message. What if your camera dies on a remote shoot and you rent a replacement? Or a friend shows up with her 7D and offers it as a B camera? Or you need to work with footage from another crew? Prolost Flat is always available and works on every Canon DSLR. Prolost Flat can be set up in seconds on any Canon HDSLR, in the field, without any cables, computers, or downloads. It’s great.īut without meaning any disrespect to the folks at Technicolor, there’s one big reason why you might not want to use their Picture Style. And in particular, Technicolor CineStyle is very nice. What about log? Isn’t log the best transfer function for grading? This not only makes the image harder to grade, it can cause quantizing and compression artifacts to show up right in the middle of your tonal range, where they’re most noticeable. Some custom Picture Styles go so far beyond “flat” that they actually invert this curve. To put it another way, what you want from a flat profile is to eliminate the contrast s-curve that the most Picture Styles bake into the footage. But it is possible to over-think this stuff, and there is such a thing as too flat.Īll we’re trying to do here is bring back everything the camera has to offer in an easy-to-color-correct package. Prolost Flat has been tested the only way I care about-by shooting stuff and trying to make it look great. Prolost Flat FAQ How did you come to these settings? How do you know they’re right?
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