fxguidetv #112: Technicolor CineStyle

Given the huge growth in 5D and Canon SLRs for video, we review and test the new Technicolor CineStyle looks and judge them for their relevance to work intended for heavy post production.

You can download the Technicolor CineStyle plug-ins here . (They are free and developed in co-operation with Canon so this is not a hack or an ‘unapproved’ mod to your camera).

You can find Stu’s original post on flattening your 5D here
You can find Vincent Laforet’s blog here (including detailed instructions on loading the settings)

4 thoughts on “fxguidetv #112: Technicolor CineStyle”

  1. Great episode! One thing I disagree with however is your recommendation of always leaving HTP on. Unless I am mistaken, using HTP effectively raises the noise floor, unless you are shooting at a very high ISO(1600 or more). I would suggest instead that by default you leave it ‘OFF’ and reserve its use only for when you would benefit from it (well lit, high contrast scenes such as sunny exteriors with lots of important highlite detail). Most interior shots I find I am shooting at 320-640 ISO, and using HTP has no effect on already blown out highlites such as light fixtures but does have a detrimental effect on noise levels.

  2. Great one Mike. But unless I missed it you never asked Joshua about the gaps at top and bottom of the histogram at around 10.00 in the episode.


  3. Finally got round to watching this episode and wow. Thought this was really well put together and loved the way you guys described everything with live examples effecting the look of the episode.

    We are finally getting into shooting and working with moving imagery at the studio and this was an extremely useful overview of how to shoot for vfx with the dslr cameras.

    Many thanks,


  4. Mike, Joshie says, the cinestyle profile was made to help color match the cutting of DSLR footage with existing log cameras like the Alexa. Any log camera will show a big gap in the bottom end of the waveform. when using a lut , the effect of having the contrast come back to the picture happens downstream of colour or at the output. This allows you to bring the detail in the highlights and shadows back before it reaches the lut. I know it seems like we are getting ripped off by not maximizing the 8 bits but if you fill the gap with info then there is nowhere to go in color. That is how film scans are done and that is why modern production cameras shoot log. There is a bigger discussion about the effect of motion picture printing as to why it is this way that Josh eluded to.
    The fact is, if you are not already working in log the Stu settings may be enough, but if you work professionally with log cameras and output viewing luts, this profile is a life saver.



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