You can't have failed to miss the many demo videos about Technicolor's CineStyle picture style that allows Canon DSLR owners more latitude colour correcting video in post production. Nikon owners now have the same opportunity.
Shooting with a flat picture style optimises the dynamic range that can be captured on video from a DSLR. Straight out of the camera the images will look 'flat' and hence the name. When it comes to post production things are different as there is more information so you have more latitude for colour correction. More detail in the shadows being an example.
Canon owners have had the well publicised Technicolor picture style, but what about Nikon owners?
Blackpeppers has come to the rescue with a flat picture style for the Nikon D7000 and a LUT for Apple's Color. Checkout how they compare against the Canon. Download links at the bottom of the article.
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Video test between 500D and D7000 (both at 1080p24)
We chose to compare side by side the Cinestyle from Technicolor and my own curve (TassinFlat that is available with its LUT to download, see the bottom of this description) for D7000.
All files where converted to Apple Prores 4:2:2 with JESDeinterlacer (no color/gamma shift), edited in FCP and graded with Color.
To use JESDeinterlacer,
-> "Input" Tab: Import your files, open inspector and set PAL for nclc + Check "Video Range"
-> "Project" Tab: Select "Bare Project".
-> "Output" Tab: Select your Video Output to Direct "Prores" with "Copy Sound" for Sound Output, Open Inspector and select PAL for nclc and check "Video Range".
-> Click Ok.
Settings for 550D (Tamron SP AF 17-50mm F/2.8 XR Di):
- Technicolor Cinestyle with Sharpness: 0, contrast: -4, saturation: 0, Tone: 0.
- Neutral with Sharpness/Contrast/Saturation/Tone to 0.
Settings for D7000 (Nikkor AF-D 20-35mm f/2.8):
- TassinFlat with Sharpness: 0, Saturation: +1 (except for the rose which was set to -1) and Tone: 0 using AdobeRGB as Color Space.
- Default Neutral with sharpness to 0 and AdobeRGB as Color Space.
=> I recommend to use my curve with saturation to 0 (+1 is too saturated and -1 not enough) and AdobeRGB as ColorSpace.
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Here a quick test between Canon 550D (T2i) and Nikon D7000 when it comes to low light and high ISO (both at 1080p24).
We chose to compare side by side the Cinestyle from Technicolor and my own curve (TassinFlat that is available with its LUT to download, see the bottom of this description) for D7000 and then the two neutral profile straight out of both cameras. Ungraded files.
Settings for 550D (Tamron SP AF 17-50mm F/2.8 XR Di):
- Technicolor Cinestyle with Sharpness: 0, contrast: -4, saturation: 0, Tone: 0.
- Neutral with Sharpness/Contrast/Saturation/Tone to 0.
Settings for D7000 (Nikkor AF-D 20-35mm f/2.8):
- TassinFlat with Sharpness: 0, Saturation: 0 and Tone: 0 using AdobeRGB as Color Space.
- Default Neutral with sharpness to 0 and AdobeRGB as Color Space.
Download the picture style and LUT
Download the 1080p file
Amny thanks to @jjsanderson for the tip
I am the Editor-in-Chief of FCP.co and have run the website since its inception ten years ago.
I have also worked as a broadcast and corporate editor for over 30 years, starting on one inch tape, working through many formats, right up to today's NLEs.
Under the name Idustrial Revolution, I have written and sold plugins for Final Cut Pro for 13 years.
I was made a Freeman of Lichfield through The Worshipful Company of Smiths (established 1601). Though I haven't yet tried to herd a flock of sheep through the city centre!
Current Editing
2020 has been busy, the beginning of the year was finishing off a new property series (cut on FCP) for Channel 4 called The Great House Giveaway. I also designed and built the majority of the graphics as Motion templates. It has been a great success and the shows grabbed more viewers in the 4pm weekday slot than any previous strand. It has been recommissioned by C4 for 60 episodes, including prime-time versions and five themed programmes. The shows have also been nominated for a 2021 BAFTA.
Although both were postponed to later in the year, I worked again on ITV's coverage of the Tour de France and La Vuelta. 2020 was my 25th year of editing the TdF and my 20th year as lead editor. The Tour was the first broadcast show to adopt FCPX working for multiple editors on shared storage.
BBC's Snooker has played a big part in my life, I've been editing tournament coverage since 1997. I'm proud to be part of a very creative team that has pioneered many new ideas and workflows that are now industry standard in sports' production. This is currently an Adobe Premiere edit.
Covid cancelled some of the regular corporate events that I edit such as trade shows & events. I was lucky however to edit, from home, on projects for Amazon Kindle, Amazon Black Friday, Mastercard and very proud to have helped local charitable trust Kendall & Wall secure lottery funding.
As for software, my weapon of choice is Final Cut Pro and Motion, but I also have a good knowledge and broadcast credits with Adobe Premiere Pro, MOGRT design and Photoshop.
Plugin Design & Development
I'm the creative force behind Idustrial Revolution, one of the oldest Final Cut Pro plugin developers. It hosts a range of commercial and free plugins on the site. One free plugin was downloaded over a thousand times within 24 hours of release.
I also take on custom work, whether it is adapting an existing plugin for a special use or designing new plugins for clients from scratch. Having a good knowledge of editing allows me to build-in flexibility and more importantly, usability.
FCP.co
Now in its 10th year and 4th redesign, running FCP.co has given me knowledge on how to run a large CMS- you are currently reading my bio from the database! Although it sounds corny, I am pretty well up on social media trends & techniques, especially in the video sector. The recent Covid restrictions has enabled live FCP.co shows online. This involves managing a Zoom Webinar through Restream.io to YouTube and Facebook.
The Future
I'm always open to new ideas and opportunities, so please get in touch at editor (at) fcp.co. I've judged film competitions, presented workflow techniques to international audiences and come up with ideas for TV shows and software programs!
