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Instructions on how to upload the CINEMA Picture Style on the Canon camera via EOS UtilityД¬.jp/imaging/picturestyle/file/eos-utility.html Oh, and 4' of dolly track just isn't /8/canon-dslrs-my-favorite-picture-profiles/ This allowed me to bump up the grain to 77% yet the net result doesn't feel as overall noisy as the previous two examples. in this one I do everything I did in the second pass but this time I create a luminance key with a 'bell' shaped response that gives me all the mid tones while rolling off both shadow and highlight region and grain is applied through this key (this is based on an article I read interviewing the DP and colorist re: an episode of HOUSE that was shot all on the 5D where they discuss applying grain in this way). This version also has a uniform 42% grain applied to the whole frame. but also exceptionally smooth looking blacks even when I blow out the exposure to see 'what's down in there'. The result is sharp edges and the ability to make out tiny textures like on the wall, the material on the chairs, etc. I leave out the original luma, passing through the filtered luma and then depending on my LCE (local contrast enhancement) pass to re-establish an acceptable level of detail (still enhanced versus the original). I combine the 'grainkilla' smoothed chroma with an original, unfiltered luma and 42% grain over the entire image. Lens Used: 35mm f/1.4 Nikkor + Century Precision Optics 1.33X Anamorphic All three versions also use the technique I standardized on for SICK BOY to enhance small contrast and detail without the false edging you get very quickly with typical sharpening kernels and still rather quickly with the Unsharp Mask tool. Because this also filters out detail and sharpness in the luminance portion of the image I use the NR on a layer I just intend to use for its color. Each version also uses ColorGHear to give it a slight grade (switching off any cinegamma nodes because this function is provided by Film Convert).ДЄll three versions use the 'GHrain Killer' GHear to smooth out the chroma noise. In all three scenarios I'm using Film Convert for my basic 'emulsion pass' but with grain turned down to 0% (I knew I'd be applying it later). I output three versions of a pan + dolly. The irony in this is not lost on me, hah-hah.

I wanted to shoot a high contrast, available light scenario to not only play with NR but also different techniques and levels of simulated film grain (via Film Convert).

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After doing a snoop on ISO noise between 12500 - 160 I was blown away by how clean ISO640 is with this patch.

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Seriously, there's a lot of excitement re: Driftwood's 'Moon Trial 3', especially where 24P is concerned.

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If you don't like boring videos testing very specific settings, software combinations or techniques, keep moving. At some point I may investigate ColorGHear Pro's grain layers instead of this portion of Film Convert. I've started roughing out various recipes for how the footage will flow through the pipeline, mainly dealing with NR and then the right balance of grain to put back in. The basis for my finishing pipeline will be After Effects, Film Convert and ColorGHear. A good deal of it will be available light and night in urban spaces. In all likelihood I'm going to shoot most of it with 'Moon Trial 3' and anamorphic. With a little luck, Goat Man's Hill will be going into pre-production on our next feature in the next couple months.