TECHNICOLOR CINESTYLE LUT PREMIERE MOVIE
TECHNICOLOR CINESTYLE LUT PREMIERE FULL
TECHNICOLOR CINESTYLE LUT PREMIERE PRO

My personal opinion is that it makes no sense to stretch luminance in a 8-bit h.264 compressed movie. Technicolors CineStyle clearly shows whats possible with a little tweaking the Luma-Curves but I dont like the fact that we loosing 16 shades of grey in the darks.

Picture Style Comparition What could be improved? I asume thats why the TC-CineStyle has raised blacks.

And it seems that after that process the PictureStyles processes the images.

TECHNICOLOR CINESTYLE LUT PREMIERE FULL

The Camera gets the full 14-bit RAW color information from the sensor and down-compresses it to 8-bit color h.264 quicktime movies. The image sensor of the camera is RAW capable and can record a higher dynmic range for RAW Photos, but NOT for Movies. They are all UNCORRECTED and edited together unmodified without any color or luminance correction. The Curve eats details in shadows and blows out highlights to much, there have to be a better correction curve!Ī better luma-curve regaining black-level and contrast!įilmed with Technicolor CineStyle, corrected with Custum-CurveĮarlier to the test above I filmed a comparition of the most popular Canon PictureStyles.

When the S-Curved Luma correction is applied the results are way to contrasty and the that the propagated LUT correction from Technicolor should provide.

TECHNICOLOR CINESTYLE LUT PREMIERE PRO

S-Type Correction Curve in Premiere Pro CS5 And it seems that more Noise is visible too! This has to be further investigated if the color-banding will stay or dissapear with other picture styles.

TECHNICOLOR CINESTYLE LUT PREMIERE MOVIE

At least the white level is at 100% and not further lowered!īut even with a usable Range from 16-255 the subjective image quality is nice (after aplying a luma correction curve) – some banding effects are visible even when encoding the final movie in higher bit-rates above 50MBit. MOVs to about 16, so we loose 16 shades of brightness when correcting back with a LUT or a Luma-Curve Tool to get back contrast in our movies. The new Technicolor PictureStyle raises the Black-Level of the. I’ve made few basic tests and filmed some real life scenarios – no charts (maybe later) – to see what the new PictureSytle is cabaple of.Īfter reviewing the filmed material I was curious about the high black level. Image Â© Technicolor – showing the workflow Wikipedia has detailed info about Technicolors history if you want to know more.

Todays big-budget films use a mathematical digital Technicolor processing and many digital cinema cameras have at least Cine-Gamma Curve Picture Profiles to achive a darker desatured movie-like image already at recording level with much higher color-depth like 10-bit color (1024 shades of grey) or even higher in opposite to the DSLR Cameras like the EOS 7D wich provides only 8-bit per RGB channel (256 shades of grey) which limits you with color grading in post because if you change somthing in luminance it will show you color banding effects much earlier than with the 1024 shades per RGB channel with 10-bit color. Technicolor has two kinds of processing types: the older Two-Strip and the later used Three-Strip processing. or older movies like The Wizard of Oz, The Ten Commandments and numerous classic-animated films from Disney since the early 1920s! Hollywood used the Technicolor Color-Processing with film material on famous movies like Star Wars, Indiana Jones, E.T. On with Technicolor … History & Expectations Read and see more about NTown’s Film Flat Picture Style for Canon DSLRs. Give it a try – more infos and the downloadable Picture Style after the break! After a few months of testing I created my own production Picture Style. BUY NOW UPDATE: Try NTown’s own new Picture Style NTown Film FLATįinally it’s done.

Technicolor cinestyle lut premiere