![]() The S-Curve is sort of like an LUT that adds the proper saturation and contrast levels back to your neutral, flat look from CineStyle. But if preset looks are a little too gimmicky for you, S-Curve is probably the best solution, especially if you shot with the CineStyle profile on your Canon EOS 5D Mark II or III. It has 25 looks that were developed by Technicolor colorists, such as Ruby Slippers, Movie Musicals, Film Emulation, and B&W Horror Film. ![]() The Looks tab should be the most popular tool for most users. With the Color Control tab, you can adjust hues, luminance, shadows, midtones, and highlights with standard three-way color-corrector wheels, as well as accessing saturation-level bars. Curves is a very useful tool, and Color Assist lets you create your own, adjust each RGB channel, or use pre-selected curves. On the left side of the program, there are four color tools. You can save up to nine color compositions per clip even better, any look or adjustment you apply to your clip is completely non-destructible to your original video files. One of the best tools in Color Assist is the History Panel, which lets you review the different looks and changes you’ve added to your clips. On the right side of the application, Color Assist has professional scopes, such as a histogram, waveform, and vectorscope. Like Premiere Pro and Final Cut Pro X, you can organize clips as thumbnails that can be adjusted, or you can view them as a list. In the Main Viewer window, you’ll see your video clip preview, as well as your video control tools when applying a look or adjustment, you can preview it in real time.īelow the Main Viewer is the File Browser tab, where you can locate your video files. When first opening Color Assist, the interface is very easy to navigate if you’ve done any amount of color correction before. The technology is based on Technicolor’s DP Lights, a professional on-set color-grading tool. Now Technicolor also has a software application, Technicolor Color Assist, that makes color grading easier and more efficient, and works hand-in-hand with the CineStyle color profile. This is the first installment in this new series.įor the Canon DSLR shooter, one of the best third-party applications out there has been Technicolor’s CineStyle profile, which enables you to capture a flat Log-like look, offering considerably more latitude during color grading. I would say you can easily intercut C 100 and properly exposed 5DMKii VisionTech footage with no issues.We’ve partnered with our friends at HDVideoPro to bring you some features and reviews on the best HD Video tools available. VisionTech for me has been the best low light picture for the 5DMKii as it captures the most information and lets me color grade it after with the least amount of noise and issues.Ĭ100 C-Log is very strong but the codec is only 24 Mbps. Again.that’s only my analysis after using Cinestyle and I have seen good results but the workflow was just to deep and layered to get to a beautiful image without denoising and additional steps. ![]() You simply can’t make 8-bit footage behave and respond to a full log profile without some negative repercussions. It’s not as harsh as Technicolor’s Cinestyle which for me ended up with noisy footage after color grading. VisionTech raises the black levels to allow more color information to be captured in low light situations…that can then be pushed back down while retaining the color information. ![]() It allows me to keep the most information in the image and then drop the blacks and add the saturation I need. I’ve used it exclusively for the last 2 years and had nothing but wonderful results. What VisionColor does is give you the optimal neutral-like setting and from what I’ve gathered…make the skin tone adjustments for you to give you an optimal all-in picture style. Shane goes further to suggest you color balance the camera individually so that skintones are adjusted…per camera. It’s the same that Vincent Laforet has used and what Stu Maschwitz recommends for his Prolost picture style. Shane’s recommendation for the 5DMKii is the neutral setting with no sharpness, minimum contrast and one notch down for saturation. In terms of my affection for VisionColor and VisionTech…here’s the breakdown. Thanks for listening to my rambling babbles! So much to talk about and so little time.
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