You'll find that there are a lot of different opinions on in-camera picture style settings. Many people prefer shooting with a "flat" setting. for example, Philip Bloom uses the following: Neutral Picture Style, along with...
Sharpness ---> No sharpness (all the way to the left)
Contrast ---> No contrast (all the way to the left)
Saturation --> -2 (two notches to the left from 0)
Color Tone --> Unmodified (0)
everybody has their own preference though, I use something like: no sharpness, contrast -2 or 3, saturation -2
i usually just wear a hat because it is softer than a helmet and will do more good. -houndmaster
oh yea i'm well aware of that, i actually use that setting that bloom uses.
however, i just meant don't boost saturation and contrast. it's tempting for a lot of new users (i did it) because it makes shots look so good straight out of camera and it just makes filming more fun, but it makes grading a nightmare.
I would give the exact opposite advice. DSLR footage is so fragile to grade in the first place, that you will get a cleaner image by shooting it right the first time. And there is something to be said about the spontaneous magic of achieving colors in-camera. Plus, unless you are fairly skilled at grading, it will end up making your footage look worse like it does to 90% of DSLR filmers.
-The "rule" about the shutter denominator should be double the frame rate is bullshit. Shoot whatever shutter you find aesthetically pleasing, just know how your shutter will effect the motion of your image.
-DSLR footage tends to look its best and most natural with the sharpness turned all the way down. It attenuates the artifacting/moire and renders a more authentic image of your lens characteristics.
-STOP DOWN YOUR LENSES. I cannot stress this enough. Any skilled filmmaker will tell you that the magic happens in the glass, and getting to know the "sweet spots" of your glass is one of the best things you can do to achieve a good image. Also, it will set you apart from the drones of amateur DSLR filmers who shoot at the highest stops for the sake of DOF porn. Most lenses are their sharpest at roughly f/5.6 - f/8, and this aperture range will give you a good balance of workable DOF.
-Don't use polarizer filters with wide angles. Polarizing filters polarize light based on the angle of interception. Wide angles have varying angles of interception, and this produces blotchy, inconsistent tones. This rule can be broken on occasion, since the banding mostly occurs in the sky or other "solid" colors.
-Press the record button while in the 10x magnification in Live View. The beginning of the clip will have a flash frame, due to a glitch in the camera software (this works on the 7D; I haven't confirmed it with others).
-Memorize native ISO settings. All other settings are just native ISOs with added compression, so opting for native ISOs will give you a cleaner image.
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I have a question about my new 60d. last night I was using an 85mm 1.2L and i had it at 1.4 and not sure what my iso settings were at but I could notice alot of grain. I was suprised since it was such a sharp lens.
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yes it will... if somebody has a slightly orange skin tone naturally, then boosting saturation and contrast will give them a very orange skin tone that looks like shit. trust me, i know how to white balance. i film a filipino kid all the time and i guarantee you that even if i white balance correctly, high saturation & contrast will still make that kid look like an oompa loompa.
plus high contrast just gives you less image data (dark darks and bright highs) which gives you less flexibility in post
+2 contrast and saturation isn't "high" by any means. I feel that any more of a boost and you start to clip. Hell, even having them at 0 works, but cranking them down all the way looks like ass because you're compressing the image data in post to add colors that aren't natively there, and unless you're really fucking talented at grading, shooting flat is going to do more damage than good. And no, I would not consider Philip Bloom to be talented at grading by any means.
As for the Asian thing...well, Asians just look goofy in general. Quit blaming the camera. Besides, if he looks like am oompa loompa, you can fix the saturated harshness by applying some basic color theory without stripping your camera of its color and relegating it to the lifeless trend that is "shooting flat."
when did we start talking about +2? i kept saying 'boosting,' which most people know implies cranking them up. and i don't crank all the way down, i never suggested doing that.
i'm also saying that the camera only exaggerates the color of his skin tone, creating a problem that doesn't need to be there. i didn't say the camera makes his skin tone orange in the first place. i know how to fix that stuff, but it's just helpful for beginners to know that it's not all about cranking colors in camera.
i'm pretty sure most professional photographers and filmers don't mess with colors too much in camera. they would rather have bland colors out of camera that give them a lot of grading options. i shot with a RED this summer and the director and DOP definitely weren't that worried about colors while they were shooting aside from cooling the colors and going for a DFN look.
and bloom doesn't always hit it out of the park with his videos, true. but sometimes he does a pretty damn good job. in my opinion his grading in this vid is pretty beautiful
I was talking about moderate boosing (+2) originally...maxing out any setting in either direction looks bad (except for sharpness all the way down), I think we can agree on that.
However, I feel the flat vs in-camera is sort of apples to oranges. Sure, people operating RED cameras want to shoot it flat and yada yada, but it is very visible in the end product. I'm not doubting the capacity of the RED camera or its users, but every single time I have seen RED footage, I have instantly been able to recognize it as being very digital. I am not a big fan of overtly post-processed colors. As an example, compare Fargo to O Brother Where Art Thou?. Fargo was shot on film stock, and O Brother was the Coen Brothers' first venture using digital grading, and the footage looks vastly different from each other.
I started out on my 7D shooting flat, and it was fun grading the footage and all, but what I realized that its even more fun not having to spend as much time behind the computer. Plus, I like the philosophy of shooting it right, and constricting yourself to the less-forgiving spontaneity of in-camera adjustments.
I shot this video using in-camera settings. Saturation/contrast was +2 (+3 contrast for a couple shots), sharpness all the way down, and the only adjustment I made was I cooled the blacks on 2 shots. I basically got this result without compressing the image data, and it looks are more lively than my flat footage did.
word, i was talking about maxing out because a lot of people tend to do that at first, myself included.
personally, i'm a big fan of the digital/post-processed look that REDs can sometimes have, so I guess that kind of explains the way I feel.
you make good points though, I've actually been testing out shooting with saturation and contrast bumped up a tiny bit lately (+1 or +2) and I'll mess around with it a little more after reading your post.
Also, you may find bumping the saturation/contrast to be ugly if you're in Standard Mode, in which case I agree, it looks awful and MS Paint-y. I shoot everything in Landscape mode and am pleased with the balance between saturation and detail.
canon 7d has the native isos as multiples of 160. All of the other isos are digitally gained off of those. Stay with those native isos if you can. Above 1260 you'll be in grain city either way.
On picture settings, I don't know much about them but i've looked up a lot of the super flats and stuff and those are engineered if you want a film look. I don't like that stuff for skiing especially. I usually am in either the landscape or portrait (mainly the 1 or 4 or 5 that looks best) setting depending on backdrop.
I'm usually higher than a 180 degree shutter for motion blur reasons.
seriously? graininess is from your ISO, not your lens.
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Not to thread jack. But i have been shooting with a t2i a little bit and is there anything that i MUST know to make my life easier in either post or when i am shooting?
I hope Like a Lion can really change people's opinions on Tanner forever. I'll admit that I used to think Tanner was some idiotic asshole who didn't know how to act, but he's just another person with highs and lows like anyone else. Mad vibes and prayers to Tanner, skiing loves you just as much as you love skiing