Color Correction Tools

Andrew S10 wrote:

What picture profile are you using, F-Log, Eterna, etc.?

What's your current workflow for post processing tweaks?

Describe the problems with your results.

As mentioned above, you can use a neutral gray card or white-balance filter to set a custom white balance in your camera. This will get you pretty accurate color, but the manufacturer's color science will skew things a bit.

The early S-Log enabled Sony mirrorless cameras had really bad color, and their LUTs were tailored for the professional cameras and didn't work well with the mirrorless ones, so a Macbeth chart was very useful in creating a custom S-Log to Rec.709 LUT for those mirrorless cameras.

I doubt that you're in the same boat with Fuji's F-Log LUT, but if you didn't like the results from that, you could try a color space transform in Resolve.

Rec.709 and SRGB are similar color spaces, but the PassPort Video has patches which correspond to a vectorscope, whereas the photo version has a bunch of different color patches that don't provide any useful information for video.

I recently got a DSC Labs Pocket OneShot chart, which I think has an edge over the alternatives. Here's an article by the person who helped develop it.

I know that the advertising says you can just click a button, but you really should manually adjust things with hue vs hue, and hue vs sat for the best results.

Here are a couple videos on how to use a color chart to calibrate your camera's color, and color correct the footage in post processing: Video 1 , Video 2

Uses for a Macbeth chart prior to recording:

• Calibrate your camera's color profile to closer match Rec.709 by editing the color matrix.

Post processing uses for a Macbeth chart:

• Correcting color cast from lens filters or non-full-spectrum light sources.
• Correct the colors to Rec.709 (useful for cameras which lack an editable color matrix)
• Match cameras with different color science
• Create custom LUTs (Manufacturers LUTs can yield poor results when footage is under or over exposed, so you can make LUTs in +/- stops of exposure to maintain proper hue and saturation.

Great post. Thanks for the links.