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Canon Log is one of the nicest logs to work with on cameras. I first used it with the Canon C300 then with the 1DC and C100. It grades very easily yet retains highlights and shadow information really well. With the C300 MKII, Canon introduced C-LOG II which was even better. Sadly, C-Log has never made it to any DSLRs other than the 1DC. One of the biggest things missing from 1DX MKII, the 5DMKIV and pretty much ever other Canon DSLR is the ability to shoot log. Sony cameras have SLOG 2 and many have SLOG 3 as standard; even the little point and shoot RX100 IV has it!

Thankfully, there is a solution. James Miller of Deluts  has created a number of C-LOG-based picture profiles for all Canon DSLRs as well as 120 custom lots designed for these exact profiles, which makes shooting log and grading them incredibly easy.

I shot the below piece with the Canon 1DX MK II using CLOG neutral and one of the LUTS. It was shot 1.3 x crop 4K 60p conformed to 24p and full frame full HD 120fps upscaled to 4K. Lenses used were the Canon 70-200 F2.8 II IS, the Canon 11-24L, Canon 16-35 F4L and Sigma Art 35mm F1.4.

I also used the Solar Eclipse Variable ND from Genus which is a terrific variable ND with a built in circular polariser. 

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The Log & The Fair from Philip Bloom on Vimeo.

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The 1DX MK II is a wonderful camera in many ways. For stills it is a beast, and for video it is the only DSLR that shoots 4K 50p, 60p. It also has the most amazing autofocus via their dual pixel system. I simply touch the screen or highlight an object/ person/ thing via the joystick, and it tracks it. Watch the shot with the girl in the bumper car to see it in action. That’s at 200mm on the 70-200mm. It is such a shame that the new 5DMKIV has such a massive 1.74x crop in 4K, making it a bit pointless to use a 5D IV for 4K video – you use these cameras for the magic of full frame. Whilst the 1DXII still has a crop of 1.3x, it is acceptable considering you get the 50p/60p in 4K. Check out my blog post on the 1DX MKII here.

I bought the 1DX MKII for the 50p 60p 4K and autofocus. It is missing so many astonishing video features of my Sony A7RII and A7SII, but neither of those have the 4K slow motion. It wont replace those – it is a different tool. Because of this I have to sell my beloved 1DC on eBay, which you can bid on by clicking below. I couldn’t afford the 1DXII without selling her, sadly!  The 1DC does have proper C-LOG, no record tine limits, 1.25x crop in 4K, S35, full frame HD and full frame slow motion at 60p/ 50p in HD.

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Here are some before and after frames from the edit:

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The profiles are uploaded into one of the 3 spare user definable profiles via the Canon EOS Utility software on your computer.

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Here is some more info from James

There are several LOG type profiles for the Canon camera and I first made one 7 years ago. Things have moved on since then and LOG camera profiles have really moved on. 

I have developed 2 main profiles.

• CLOG Neutral (v1.0 & v2.0)

• CLOG 3 

CLOG Neutral comes in two options, one with a highlight roll off knee that stays below clipping (v1) and one where its a little more pronounced (v2).

CLOG 3 gives you a more Canon style modern LOG image.

There are also some additional camera profiles (found in the Additional Profiles folder) that help you shoot using colour tones of the standard camera profiles like Faithful, Fine Detail (depending on camera), Landscape, Neutral, Portrait and Standard. There is also a couple of more defined Monotone profiles.

Both the main profiles have corresponding LUT looks and for many options. All profiles designed around Canon captured imagery shot over the last 3 years.

There is also a separate folder ‘DELUTS Neutral Film Looks’ that contains LUT looks allowing you to over grade existing Standard shot profiles in several film tones.

There are around 120 Lut looks across the camera profiles to download.

I would suggest trying the 2 main profiles and the corresponding luts to see what you prefer shooting with. Shooting 8-bit in camera will always have limitations, some Lut Looks will show artifacts from the encoding process when colour profiles are pushed.

Luts are supplied in 16x16x16, 33x33x33 and 64x64x64 These are Resolve compatible 3D Luts that can be used in many applications natively and others with LUT loading plugins.

Please use 16x16x16 Luts in Adobe Premiere. Although you can load higher point Luts the system can drastically slow down by doing so.

This is a working LUT set and is subject to change. Please keep luts used within your project folder for later use. Never finalise a Premiere Pro project using quick select luts, always load in manually before you render or archive the job.

Premiere Pro beyond 2015.3 can use 3D Luts natively by placing them in the Lumetri/LUTs/Creative folder. Please note there is a limited number of Luts that can be displayed in Premiere at one time. Place a holding folder at Lumetri/LUTs to store luts that you do not regularly use.

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