![]() ![]() ETTR is for raw, log and maybe jpegs/8 bit video without skin tones. Looks like he just used a another histogram to make his point, and this can be a little confusing when you're trying to match Paul's histogram in a shot with skin tones cause you could very easily ending up overexposing and possibly ruining the shot. I took the shot off Paul holding the color checker and checked the histogram in Lightroom and it's very different from the one in his picture. I believe when Paul Leeming used the term ETTR to explain how to use his LUT he should have explained that this is really ETTR light version or something. Not a big deal for small videos, but another point any beginners reading should be aware of.ĭoesn't look like ETTR on the histogram either and it sure looks a lot different from Noam Kroll's ETTR. Which is another problem with ETTR on these 8bit cameras, you end up with a lot more work in post fixing your exposure. Plus, you ETTR your subject, so technically the zebras should have been pulled back from your face, not your shirt. Those zebras could have disappeared at any point during that stop drop. I don't think you can truly ETTR by dropping a full stop. I really don't want to beat a dead horse, but what is your on camera monitor calling your ETTR shot?īecause to me, that isn't ETTR and that looks like +/- 0.Īt 90% zebras, what f-stop did they disappear at? Should be done in a few minutes, unless YT isn't cooperative this afternoon. I am in the process of applying Neat Video to the shot that's underexposed by 1/3 of a stop (the one with the worst artifacts) and will be uploading it along with the same clip with no noise reduction to see how it affects macroblocking. The grain (one can use the built-in grain effect of FCP) also reliably helps with fade-ins and fade-outs that can cause temporal banding. He also sometimes uploaded ProResLT, but this didn't make a huge difference in my own tests on Vimeo. Philipp Bloom does this with FilmConvert. The amount of the grain needs thorough testing, but you can do it before the upload. The grain structure has been proven fail-save. The first approach is unreliable and can't be fully controlled. Dithering shadows by either keeping noise or applying grain. With less noise, there are less encoding errors.Ģ. The grain (one can use the built-in grain effect of FCP) also reliably helps with fade-ins and fade-outs that can cause temporal banding.ģ. He also sometimes uploaded ProResLT, but this didn't make a huge difference - if at all - in my own tests on Vimeo. Which to protect by any means is the idea of 4k.Ģ. The downside to this is that, no matter how well you know the expert mode of Neat, you will always also sacrifice texture detail. There are three strategies against that:ġ. In case of a H.264 master, that distinction is in the upload file already and only gets worse when the original is reduced again by the YT processing. Macroblocking in the shadows is the encoder deciding that noise is no valid signal and overly simplifying the area. I will be uploading the master file to YT tomorrow to see whether the macroblocking is still a problem. My takeaway is that, while correct exposure is critical, proper white balance in camera and in post is paramount for good skin tones. But the fact of the matter is, the G85 is a great camera for the money, content is king, and I wouldn't get my panties all twisted up in a bunch over Lyhne I uploaded to YT directly from within Final Cut. Applying the Leeming LUT to the footage would have restored the proper rec709 color space. Many YT and Vimeo videos suffer from this unsightly macroblocking as a result of underexposure. Look at the back of the flapjack LED to the left in the ETTR clips, in which macroblocking is virtually absent, and compare to the clip that is underexposed by 1/3 of a stop. But the most startling revelation is that noise in the shadows, which manifests itself as ugly macroblocking due to YT compression, is somewhat reduced by ETTR. Also, detail that is plainly visible in the shadows in the original ETTR clip is obscured somewhat by YouTube compression. Colors are a little trickier, first of all, because I'm not a professional colorist, so I couldn't exactly match the ETTR clip to the one that was underexposed by 1/3 of a stop. I just did a very quick test with the Lumix G85 in natural light which leaves little doubt that there is greater dynamic range and less noise in the shadows when exposing to the right. ![]()
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