This was shot in the Summer of 2017 with my JVC GY-LS300: Details as follows. 4K 422 J-LOG at 150mbps. I used two different lenses Rokinon 24mm and Rokinon 8mm (fish eye). I metered with incident light meter that gave me the following. 24p ND, 1/64, 1/48th (180') shutter with an aperture of T5.6 for most all daylight shots. When I switched to the Rokinon 8mm T5.6 would be nearly wide open so I believe I picked less ND to get around T8. For grading I did a lot of experimentation and I could do more, however as this video is, I used Final Cut Pro X, Color Finale plug in. Applied the 3 strip simulation LUT that I liked more than the JVC -J-LOG LUT. The JVC J-LOG Lut brings the JVC J-LOG footage back into Rec 709 color space and was fine as well as had that 4K 3D punch, but I was thining more film like experience than contrasty punch, so I started my grade with the 3 Strip simulation LUT from Color Finale. I did a mild Teal/Orange grade. Basically pushing shadows into slightly Teal color and midtones into slightly organge. Teal and Orange grading is all the rage these days but at least it's better than the desaturated grades of a few years ago or even more dull the yellow grades and desaturated. (ughy) 95% of all cuts where graded exactly the same, only couple scenes did I do any changes. I rendered out of FCPX as a MOV h.264 Master file of 6gigs and uploaded. I can see if I get into color grading more I would get a Tangent control surface, (3 track balls side by side) would make life while grading far easier and faster than clicking on each (Shadow/Mid/Highlights) and dragging and releasing etc. I can see a Tangent control surface in my purchases for sometime 2018. My metering using a incident cine light meter gave a peak in my histogram on the bottom 3rd. I have experimented and largely failed at trying to ETTR. I have far better results using a cine light meter and the histogram usually peaks about 1/3 from the left, not the middle, not the right third, but the lower third.
15 окт 2024
