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Cook Picture Styles for Canon DSLR Download link: https://www.dropbox.com/sh/g83l5b4d15id33n/AADQf66vIYsgTByyTkLRXW5wa?dl=0 Cook Picture Styles was the result of more than one year of developing. to get the best possible dynamic range from Canon DSLR and also the best real world colors. without flat look, without the need of post production grading, without hurt the textures in the image, without gradient banding. Cook Picture Styes are free for use and distribution. Read instructions below to get the best from it. _DPP = to be used in digital photo professional software _CAM = to be used inside the camera there are different versions for camera and DPP software due to the camera has different color rendition compared to DPP in computer. using DPP versions on camera will introduce color banding, using camera versions in DPP will introduce color banding. so use CAM versions in camera and DPP versions for RAW photos in computer. Vimeo group, be welcome to join: https://vimeo.com/groups/228980 Demo Videos: http://vimeo.com/85943566 http://vimeo.com/86822408 Instructions: FOR USE IN CAMERA: (the -h versions are just for use in dpp, they do not do significant difference in camera. there is the +h versions to be used in camera which increases the highlight preservation.) Install the following versions in camera: (Use Canon EOS Utility to load them via USB cable) Cook1_cam, Cook3_cam, Cook5+h_cam, or cook2_cam, cook4_cam, cook6+h_cam, (after testing these to perceive the differences you can load others if you prefer, always _cam versions. 0 to 6 means the shadow lifting amount, +h means more highlight preservation but reduces textures a little bit), for the 600D T3i the shadow lifting up to 6 works ok, for the 5D Mark III the maximum recomended shadow lifting amount is 5, avoid loading the versions 6 to the 5D Mark III, Confirm in camera if the sliders are in default position for each version. (sharpness, contrast, saturation, tone). Enable HTP when there is highlights in image, it helps. (highlight tone priority). Always disable Auto Lighting Optimizer, it does not work good with custom picture style curves. Choose from them considering the shadow/highlight in the scene Just shadows = Cook0, 1 or 2 Light and shadows = Cook2, 3 or 4 Shadow/Highlight = Cook4, 5 or 6 you can use the versions 5 or 6 all the time, but increase contrast when needed (try from -2 to +2) when there is more highlights use the +h versions and enable HTP. Do the following for each scene (after choose the version): If you use Variable ND or Polarizer filter, rotate it to find better balance between shadow/highlight. Set correct exposure for Aperture, Shutter and ISO. Set correct white balance for Kelvin and Green/Magenta bias. Adjust contrast slider from -2 to +2 untill dynamic range is good but removing the flat look. Try to keep good blacks without the grey look from flat images and without make the blacks too much deep. if you want to use cook5 or cook6 all the time, increase contrast to avoid the flat look when needed. Adjust the saturation slider to get a good balance with contrast. If you increase contrast, decrease saturation. If you decrease contrast, increase saturation. Keep Tone Slider as default. Sharpness at default (2) is recomended, more than this will increase halos, less than this will deliver a soft image. The cook does not increase noise so much compared to Canon picture styles. Neatvideo cleans it pretty good. A tip is to disable all luminance spatial denoise and increase temporal denoise. The chrominance spatial denoise can be increased to remove chroma noise. sharpening in Neatvideo gives better results than sharpen filters in timeine, less pixelation. sharpening with neatvideo can deliver exellent results for Canon DSLR, tweak it carefuly. The higher the shadow lifting amount in cook (from 3 to 6) are better for post production sharpening, less halos. the use of the Mosaic Enginnering VAF anti aliasing anti moire filter works great with Cook Picture Styles. FOR USE IN COMPUTER IN DPP SOFTWARE: Open the RAW photo in DPP software Open the Tools Pallete Disable Auto Lighting Optimizer in Tools Pallete Load the version Cook0_dpp Adjust exposure (brigthness) in Tools Pallete step by step, do this to get good exposure and good edges/tones transitions in highlights. See image in 100% to perceive the edges/tones transitions and see all the image to perceive exposure. Adjust contrast slider to get a good blacks and remove flat look Adjust saturation Now after these first adjusts try other versions from 0 to 6 until perceive the best one to lift the shadows If highlight preservation is not needed use versions with -h, versions -h keep whites up to 255 Cook your images and enjoy! Thanks

Fantasy ideas for a perfect video/digital cine camera with HDR, see image. Post your ideas for the perfect camera, let's improve the fantasy project...

Thanks @Aaron @Andrew I will take a look into these solutions!

In the video below, there is an interesting use of S-Log2. It allows to show the background without clipping, but after grading, it introduces clipping in the background, not too much, but it clips. I was wondering if thee is a way to recover the contrast and gamma of the image, mainly in the shadows, without clip the highlights in background... Maybe a custom curve or a custom 3D LUT... See:

maybe this 4 lines readout will introduce stair steps... so premiere will need to consider this in the rolling shutter repair...

LOL !!! thanks Axel, this version is just hilarious, made my day. "Please Sony make it right... develop a new camcorder... put two sensors in a prism design... and DR will be much better... one for dark another for light... and we will be happy forever... but manufacturers will die... because nobody will change cameras never..."

about the "now i can see" video: unfortunately the dynamic range is very poor, and "now i cannot see", or better saying: now I can see the other side of the moon, but the first side is gone before a7s I had the good highlights and dark shadows now with the a7s I have the shadows but the lights are gone, blown out forever at 1:01 the carroussel is ok, but the faces are dark, more DR please. we need a camera which can merge the 1:15 image with the 1:20 image into an extended dynamic range image to show the lights without clipping and the sea together. at 1:58 I would like to see the buildings without clipping, more DR please... at 2:03 i would like to see the fire and face without clipping while lit the cigarrette, more DR please. just look at the 2:25 image. where are the buildings? more DR please. what about the 2:39 image? "total clipping of the heart" "total clipping of the heart" (Blowout Tiler) turn around every now and then I get a little DR and know I've got to get out and cry turn aound every now and then I get terrified about low light but then I can't see the sky turn around every now and then sony got my money but gave me a clipping background turn around every now and then I ask where is DR because it is so easy to increase the pixel count turn around bright eyes don't forget to see the dark parts turn around bright eyes don't forget to see the lights And i need more DR tonight An i need it more than ever and if DR is so tight we will be ML HDR forever and we'll only make it right when we have more dynamic range because the beach is bright but the background is so strange I really need you tonight HDR is a must tonight HDR is a must daylight Once upon a time there was a hidden dark face of the moon But now the bright face is blown away Nothing I can say A total clipping of the heart Once upon a time there was light in my life But now there's only sony in the dark Nothing I can see A total clipping of the heart

There is something I have seen for a long time, since the Technicolor Cinestyle Canon DSLR footage on Vimeo, and now this same thing shows up in Sony S-Log2 footage. When people do the grading in computer, most of times the highlights are not preserved, also the shadows goes too much deep... It seems to be very difficult to grade the flat image, to recover the correct gamma and contrast, and keep the shadows and highlights without crush/clip. If you take a look at these links and compare before/after grading you will perceive that the highlights could be more preserved in the graded images. So, why shoot Cinestyle in Canon or S-Log in Sony if you cannot do a perfect grading in post to preserve all dynamic range? Is this a matter of grading skill? Or it is just impossible to preserve all the dynamic range in highlights and shadows after grading? See: http://www.hingsberg.com/index.php/2013/03/f55-slog2-s-gamut-mode-test/

I think it would be possible for Sony to implement a way to do the S-Log2 grading inside the camera before the 8 bit compression. Sony could enable different grading levels to shadows/midtones/highlights for the user to chose and turn the S-Log2 image into a graded image inside the camera, this way there would be no need of post production grading, much faster workflow and would avoid gradient banding. I think this is simple to do, just enable a menu function with some grading algorithms or lut curves. Also it would be interesting to allow the user to load custom grading presets to the camera.

There is an interesting difference between the "total" dynamic range and the "usable" dynamic range. If the picture style is rated to give more than 11 fstops, maybe this is subtle differences that does not make significant perceiving in the real world, maybe due to this the T3i just shows 9 fstops difference when pointed from the black to the white image in the computer monitor even using a flat picture style. It would be interesting to see what would be the "usable" DR in the A7S. Good thing to do would be to compare the same contrasty scene with different cameras. Interesting article about usable DR: (it says that BMCC usable dynamic range is less than 10 fstops, if this is true, 9 fstops usable in T3i is ok) http://www.cinemadigital.pt/index.php/videos/item/111-arri-alexa-blackmagic-red-epic-comparacao-sobrexposicao http://www.ryanewalters.com/Blog/blog.php?id=8375868975844575706

yes, the camera is amazing. at iso 25600, 32000, 40000 or 51200 it will be possible to use f5.6 at night in streets or in day dark interior. this will make all lenses useful in all situations. lenses like the sigma 12-24mm f4.5-5.6, tokina 17mm f3.5, sigma 8-16mm 4.5-5.6 (with aps-c cop) sigma 10-20mm f4-5.6 (also with aps-c crop), cheap old vintage full frame zoom lenses and many other slow lenses will be useful with this camera. about DR, I do not expect more than 11 fstops. it is the same technology present in a6000 sensor, just the size and megapixels change, so with dro5 and highlight recovery in post I believe 11 fstops dr will be the maximum, but 11 fstops are pretty good. new sensor technology will come to give us more dr in near future... to make possible to do what magic lantern hdr does without the need of different iso in adjacent frames...

This video shows that in iso 51200 the image starts to tremble near the lamps. So probably after denoise the edges of objects will keep trembling. so maybe my supposition was correct, the maximum safe iso will be aound 25600 / 32000. Also the difference from slog2 to other was a small lift in shadows so maybe dro5 will be better to get almost same dr without flatten the image.

I pointed the T3i to the computer monitor and filled the computer monitor with a 255-255-255 white image. from the dark monitor to the white image in the monitor I have 9 fstops. So maybe you are correct, it is 9 fstops. 9 from the picture style + 5 from the magic lantern hdr video, it is 14 fstops total, pretty good for the cheap T3i. When I was developing a picture style to get the most possible DR I lifted the shadows to the point before the sensor started to show vertical paterns and I bring down the highlights to a point before I hurt the textures. Without flatten the image. If you shoot inside a room, inside a house with an open window, or inside a car or a bus with a sunny day outside, this amount of DR is useful. Also at night, dark streets with light lettering panels. On vimeo there are lots of magic lantern hdr videos online, you know.

I talked about 16 fstops DR because this is what I can get with the old Canon T3i 600D using a good pictue style to lift the shadows and bring highlights down to allow 11 fstops dr combined with the hdr video 80/2500 iso to add more 5 fstops. This way I can shoot in light situations where even Alexa would fail... No way to compare the image quality from Alexa to T3i, but it works for indie production.

If you read the ARRI website about the Alexa sensor you will understand how it can deliver more than 14 fstops. There is two readouts from the sensor, two outputs merged inside the camera. It is something like the RED X, but different. The sensor technology available today cannot deliver more than 11 - 12 usable fstops DR for compressed video. RAW is another story, but not so much different... To reach the 16 fstop DR dream wich makes possible to record the bright sky with clouds and the living room inside the house without add light at the same time we need another sensor technology, or two streams merged inside the camera, or record the two streams as a side by side image to merge in computer... Something new will come with the quantum dots and organic sensors or with real time HDR video as shown by toshiba new smartphone sensors.