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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.

the pixel density in a7s compared to a6000 shows the a7s pixels area is 4.7 times larger. in cameralabs iso video tests the maximum quality iso with perfect denoise is 3200 for a6000 and 6400 gives good quality with small trembling in shadows after denoise. 3200 x 4.7 is will give us iso 16000 for great denoise in a7s. and the safe limit will be 6400 x 4.7 = 32000 iso maximum when the quality after denoise will show some trade off. I do not expect more than 11 or 12 fstops dr with slog2. i think neutral or standard profile with contrast 0, dro level 5 and superwhite recovery in post will be better than slog2 for good dynamic range without flatten the image. more than 11 or 12 fstops we will see in the next generation of sensors, maybe quantum dots sensors, maybe organic sensos, maybe hdr sensors with dual stream merged inside camera. a6000 with a good focal reducer will be the low budget a7s.

Please do not be angry... I invented this rumor, and also I do not have any contact with Sigma. This is just possible to do, and Sigma is doing great job with aspherical and extra low dispersion glass, so they can do it. The problem of all the focal reducers is the curvature of field, when the spherical lenses projects the image in a curved plane so the focus changes towards the edges. This can be solved with aspherical lenses. And the CA can be solved with extra low dispersion glass which avoids the RGB wavelengths to separate so much. The problem for small companies is to get ed glass and to grind or mold aspherical lenses, so maybe this is a game for the big boys like Sigma. But who nows which are the interests of the consortiums... because great focal reducers can change lenses and camera sales.

Sigma will enter the game of focal reducers for M43 and E-Mount. They will have an aspherical design, also using extra low dispersion glass to improve edge sharpness. The Sigma focal reducers will be 0.71x with 1 fstop increase in light. Will be available in main mounts: Canon FD, Canon EOS EF, Nikon F or G, M42, MC/MD, OM, PK, Leica R, Yashica/Contax Main problem of all focal reducers in market today is the edge blur, this is due to spherical lens design. Also some small amount of chromatic aberration is present. Sigma will solve these issues using aspherical lenses and extra low dispersion glass. This is a rumor.

The crop factor calculations for the GH4 in this topic are completely wrong. Crop factors must be calculated using the diagonal of the sensor. The full frame film camera sensor is 36x24mm and has a diagonal of 43,26mm It uses all the image circle from the full frame lenses. The GH2 multi aspect sensor for 16:9 video is 18.8x10.6mm and has a diagonal of 21.6mm wich is half diagonal of full frame film cameras So the GH2 crop factor for video is 2x and not 1.86x (43.26 / 21.6) Considering the GH3 and GH4 uses all the horizontal pixels of the sensor to capture 1080p video: The GH3 and GH4 sensor for 16:9 video is 17.3x9.7mm and has a diagonal of 19.85mm So the GH3 and GH4 in 1080p has a crop factor of 2.18x (43.26 / 19.85) Considering the GH4 sensor is 4608 pixels in horizontal and C4k is 4096 pixels in horizontal and UHD is 3840 pixels in horizontal: The GH4 in C4k mode uses an area of 15.38x8.11mm of the sensor and has a diagonal of 17.39mm So the GH4 in C4k mode has a crop factor of 2.49x (43.26 / 17.39) The GH4 in UHD mode uses an area of 14.42x8.11mm of the sensor and has a diagonal of 16.54mm So the GH4 in UHD mode has a crop factor of 2.616x (43.26 / 16.54) This is all without focal reducer.

Well... I downloaded the A6000 mts videos from Cameralabs review and the iso tests. Comparing to Nikon, to previous Sony NEX models and to Panasonic M43 cameras my conclusions are: The A6000 does not show aliasing which is pretty good. There is very small moire, not disturbing enough, possible to live with (I saw it in the beach shoot). The noise in high iso does not show chroma noise which is great. The noise in high iso is very fine and charming compared to previous NEX and to Panasonic. The iso up to 1600 does not need denoise. The iso 3200 is clean after denoise. The iso 6400 is clean after denoise with small trembling in shadows, not disturbing. The iso 12800 is not usable. The resolution is a little gross compared to Panasonic, Panasonic is more cinematic, razor sharp. If you want that razor sharp look which is desired to compete in tv broadcast and cinema theaters Panasonic M43 is the way to go, but the low light performance and E-mount with focal reducers allowing 1.16 crop factor is amazing on A6000. The gross in A6000 resolution is more perceived in wide shots showing buildings, in low light it is not annoying, but still much better resolution than Canon APS cameras. The resolution is on par with D5300 and I think A6000 is better because does not show halos in contrast edges. Low light is better than D5300. The highlights are recorded above 100 IRE and can be recovered in post production and this is amazing. There are textures and tonal range hidden in the cliped highligts, something like 1 fstop of dynamic range can be recovered in post, something like HTP in Canon cameras. The 5 levels of DRO to lift shadows combined with recovered highlights can deliver a great dynamic range. With a RJ lens turbo to increase light by 1 fstop and reduce crop factor this camera will be a new low budget Queen for low light and for use all kind of lenses. The 1.16 crop factor with the lens turbo just avoids the soft and dark corners from the full frame lenses. If you can record audio outside camera the A6000 is great for indie cinema. Also there is the option to buy the expensive bluetooth mic. I hope Sony give us mic input in A7000 and maybe S-Log2 in the A7000 also. The auto focus is accurate and smooth and does not show hunting, this is great. I like the A6000 a lot! I have the dream of Sony give us S-Log2 in the A7000 to increase dynamic range 1300% That's it.

It seems that the only way to answer about que crop question is to get hands on A7s and take a still photo and a video shoot and compare both to perceive if there is crop.

First Feedback from user: "Man This Picture style is insane cut all time spent in post production i just tested +h Version looking good I'm going to do more video and spread the word to videographer for ur hard work. I ll joint the group today to upload the video test and sample. Thank again AGAIN BIT TIME" (from A.O. Vimeo Member)

The 28 Cook Picture Styles for Canon DSLR are available now for only 5 usd donation in my website apefos.com Works in camera for MOV videos and JPG photos and in computer in DPP software for converting RAW photos into JPG In-camera grading concept increases dynamic range without flat look.

What Canon needs to do now to compete is to release a version of EOS-M mirrorless with 3840 x 2560 sensor, 9.8 megapixel for photo and UHD video with same sensor technology from 70D, improved low light and dual pixel AF with the same log Dynamic Range as Sony did, recording UHD to the sd card or recording FHD. Price under 1000 usd. People wants to use all kind of lenses, not just proprietary lenses... so a expensive 4k 5D Mark IV would not be perfect for competition.

For the GH5 Panasonic needs to develop a 4096 x 3072 native resolution sensor to allow the 4096 x 2160 video without horizontal crop in the micro four thirds sensor, better shallow dof, better wide angle and better low light due to increase in pixel size. Also it will be good for still photos because 4096 x 3072 is 12.6 megapixels, enough for most photo work. Dynamic range increase to reach ARRI is the most expected improvement in the Panasonic now... maybe this will be implemented in the organic sensor they are developing. And why not 200Mbps IPB in 4k?