VisionColor is an integral part of my secret sauce for sweet imagery!
Vashi Nedomansky, Filmmaker
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I’m madly in love with VisionColor. The DPX workflow is enhanced by this picture style more than any other. I gain the full 10 stops latitude from the Canon sensors and the most gorgeous colors from any picture style I’ve ever used.
- Kahleem Poole, Cinematographer
The general consensus among DSLR cinematographers seems to be that capturing a flat image will maximize the control and freedom for color grading in post. This false notion probably stems from semi-informed bloggers comparing the color handling of DSLRs to that of higher end devices and shooting formats with no consideration given to the limitation of the camera’s compression algorithm (h.264) and coding space (8-bit).
Current high end digital cameras have the capability to capture 13+ f-stops of dynamic range and store uncompressed bayer pattern image data.
The dynamic range of the full frame Canon 5D mark II is around 12 stops.
The RAW data of a Canon DSLR camera is 14-bit. This means that the analog-to-digital conversion on the sensor yields 14-bit values (between 0 and 16383). This is enough to represent accurately dynamic range spanning 12 stops when encoding it linearly. This is all nice and good, but unfortunately for videographers that’s not the signal we get out of the camera. (…) The picture style tells the camera how to put all that RAW dynamic range into 8 bits.
Once DSLR footage has been compressed to the highly destructive h.264 8-bit codec, you’re left with only 256 discrete tonal values.
RedCode or ArriRaw for example are 12-bit which equates to 4096 tonal values.
You’d probably agree that 256 is a lot less than 4096. That it’s not exactly the same ballpark, that it ain’t the same league and that it ain’t even the same f#c?in’ sport.
So if all your camera has to offer is an 8-bit codec, why minimize contrast and saturation in camera only to add it back in in post, sacrificing tonal precision, control and often time?
Why flatten your image when it only makes it more susceptible to posterization and noise extraction? Why de-saturate it when adding saturation in post will result in chroma banding?
Because someone at some point decided to indoctrinate DSLR users to replicate a RAW workflow that does not conform with the technical limitations of the cameras?
That rather unsatisfiing conclusion led us to develop what we believe to be the most thoroughly programmed and reliable profiles for professional videographers that embrace all the strength of these revolutionary cameras and make up for some of their shortcomings. No picture style will ever turn a camera that captures consumer grade video into an Arri Alexa and we certainly don’t want to suggest otherwise. But with the VisionColor and VisionTech profiles you will quite simply get the most color information out of your camera. Pinky swear!
VisionTech 2.0 – My favorite picture style!
- Hugo Camara,
I’ve shot in many environments, lighting I could control, run and gun, magic hour, natural lighting etc. And I simply love it. Skin tones just look amazing – I’d compare it to the way the Alexa handles skin.
- Ethan Donelly / Act Zero Films, Director
How is VisionColor different ?
By adjusting over 200 individual color tones, the VisionColor and VisionTech Picture Styles do what most “flat” picture styles desperately fail at; By taking a unique chrominance based approach, they retain as much color and luminance information as the camera’s sensor and the 8-bit h.264 compression codec have to offer. Where most picture styles simply de-saturate all of the colors globally and therefore lose important data on neutral and underexposed parts of the image, VisionColor Picture Styles only de-saturate extremely vivid parts of the image to prevent clipping in the individual color channels. Less saturated parts of the images are slightly boosted to create the richest image possible that offers maximum control for color grading in post.
VisionColor is what Canon’s Neutral profile should be; they should pay you for it. VisionColor fixes all the problems with Neutral and saves me hours every project in color correcting and color grading. It is the only picture profile we use now.
- LightSource Films
(Graded – Image by Jonathan M. Ochmann)
Does VisionColor have a “baked in” look?
No. The VisionColor and VisionTech Picture Styles were designed to be color graded in post. The color-processing that these picture styles do in-camera only makes your job in the DI alot easier. With our profiles you get wonderfully balanced skin-tones under all common lighting situations that need absolutely no tweaking in post. They effectively surpress green/yellow color casts aswell as flesh-tone anomilies/banding that usually occur with tungsten lighting
If you’re looking for something that needs absolutely no color correction in post and deliver professional looking results check out our CineLook picture style!
(Ungraded – Image by Kahleem Poole)
What about dynamic range?
Ok. Mythbuster time. NO picture style in the known universe can increase the actual dynamic range of your camera’s sensor and we’re not going to tell you that VisionColor can just for marketing purposes. Generally speaking what a picture style can do is electronically raise the shadows and lower the highlights (creating an inverse S-curve) AFTER the image has been captured by the sensor (which, depending on your camera comes with a fixed dynamic range) but BEFORE the h.264 compression is applied. This can result in an increase in perceived latitude but most of the time just creates excessive noise, banding and weird color anomilies that ironically make proper color grading in post impossibly difficult.
The VisionColor and VisionTech gamma curves are somewhat similar to Canon’s Neutral picture style with the Contrast at -4 (recommended value by Phillip Bloom, Stu Maschwitz etc.)
The VisionTech picture style (which comes for free with VisionColor) also lifts the black point to enable the camera to encode low light color information more accurately – not to increase DR.
(Ungraded – Image by Kahleem Poole)
How does it handle image noise?
Pretty well. Just like dynamic range though, noise is not really determined by the picture style but the ISO you’re shooting with and the camera’s sensor. Generally the VisionColor Picture Style has a perceived noise-level similar to Canon’s Neutral PS. CineLook is even less noisy because of its subtractive curve. For best noise performance we recommend you find out what your camera’s native ISOs are and as a rule of thumb don’t shoot over ISO 1250.
For heavy color grading ALWAYS de-noise your footage first. Always. In 16-bit please (To blend pixel values together and create an even richer negative)!
Which camera models are supported?
Basically all EOS cameras that are able to load .pf2/.pf3 picture style files. Here’s a list (incomplete, most popular VDSLR models only):
- Canon EOS 7D
- Canon EOS 5D Mark II/III
- Canon EOS 550D ( T2i)
- Canon EOS 600D (T3i)
- Canon EOS 650D (T4i)
- Canon EOS 700D (T5i)
- Canon EOS 1000D
- Canon EOS 1100D
- Canon EOS 1D Mark IV
- Canon EOS 60D
- Canon EOS 70D
- Canon EOS 1D x
- Canon EOS M
- Canon EOS 6D
By purchasing the picture style you agree to our end user agreement.
If you’re having trouble please don’t hesitate to request our support here and we will help you asap!
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