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Working with Plog

abant

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I want to share my experience with videos taken in plog mode. Through trial and error, I found a fairly reliable processing algorithm, but I would be very grateful for comments and advice.
For video processing, I use Davinci Resolve.
1. The first step, and the most important, is the conversion from log to Rec. 709. Conversion settings.
1587992134610.png
2. WB. Setting the white balance using a reference gray card with control in the Waveform window.
1587992382255.png1587992419017.png
3. Shift "Hue vs Hue" base colors on the color reference map with control in the Vectoscope window.
1587993083557.png1587993223051.png

4. Further, the saturation, brightness and contrast, sharpness, etc to taste.

Thus, without using 3D LUT, you can get an acceptable result that is suitable for fine correction:
cc_log00009202.jpg cc_70900009202.jpg

How do you perform video post-processing?
 
Im not familiar with Davinchi, as i use Premiere.
I do not understand 1 step. Why are you converting the original file (p-log)?
You can work directly on the original file and make the color corrections.
I do this with the Premiere and it is effective.
 
Why are you converting the original file (p-log)?
You can work directly on the original file and make the color corrections.
I do this with the Premiere and it is effective.
This is difficult to explain in a nutshell. In short, the result will always be inaccurate. To go from log to linear space, you need to perform a reverse logarithmic transformation. If you skip this step and try to "straighten" a logarithmic function by treating it as a linear function, you not only distort, but also lose data.
1588078468475.png
 
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Why ?
Which are your working space ?
I f you have a single monitor you are in srgb.
THE REC 709 IS A COLOR SPACE aka srgb or adobe etc...Your monitor supported ????
 
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We are talking about how the source information is encoded. If the color information was encoded using a logarithmic function, then the log->sRGB or log->rec.709 conversion must be performed to reproduce these colors on the sRGB device.


I disagree my friend.
COLOR SPACE is the work environment.
The key is WHAT WORKING ENVIRONMENT I use, and for what purpose
If I am a professional photographer I will use AdobeRGB or better ProPhoto RGB.
WHERE SHOULD I USE IT?
But of course in the monitor that I work on the condition that it supports the specific environment.
After a good calibration I create the right profile and run it in the monitor.
If the file I want to edit does NOT HAVE THE RIGHT COLOR INFORMATION (ie it does not have eg prophotoRGB information), it is not the right solution to convert it with software, simply because the information does not exist !!! I simulate it but enter incorrect color information.
In the example above:
- If I produce prints then I will choose the following color environment: MONITOR + PRINTER in the same color profile
If I'm in an ADOBE RGB environment and I print CMYK (printer environment), everything will probably suck.
- If I only have a Monitor that supports srgb only (and it matters how well SRGB plays !!!) I can choose to work in REC 709 environment but it will not play properly !!!
It will get worse if I intervene in the original file and make changes to go to a color environment in which I will not be able to take advantage of it since the Monitor in which I should see it just does not support it !!!
In most cases and depending on the quality of the monitor I can be close to very far from the desired result (colors with a lot of saturation, very difficult to correct) !!!
My opinion :
Do not make any conversions to the original file.
It is a clean flat file and provides many possibilities to adjust the colors.
That's why it is used !!!

In a file with a specific color profile (of the camera and its defaults) it is much more difficult to make color corrections, which is why the great usefulness of log files !!
 
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I disagree my friend.
COLOR SPACE is the work environment.
Log does not say anything about the gamut, and it is not a color space, but it is a method for writing numbers that encode a color using a logarithmic transformation.
 
I want to share my experience with videos taken in plog mode. Through trial and error, I found a fairly reliable processing algorithm, but I would be very grateful for comments and advice.
For video processing, I use Davinci Resolve.
1. The first step, and the most important, is the conversion from log to Rec. 709. Conversion settings.
View attachment 3951
2. WB. Setting the white balance using a reference gray card with control in the Waveform window.
View attachment 3952View attachment 3953
3. Shift "Hue vs Hue" base colors on the color reference map with control in the Vectoscope window.
View attachment 3954View attachment 3956

4. Further, the saturation, brightness and contrast, sharpness, etc to taste.

Thus, without using 3D LUT, you can get an acceptable result that is suitable for fine correction:
View attachment 3958 View attachment 3959

How do you perform video post-processing?
What he described is interesting and professional, but I don't like the color processing and color balance of the Parrot.
The real colors are not like the colors of Anafi. DJI reproduces natural colors much better. I have a Spark and I'm trying to get its color rendering with Anafi as well.
If you try to achieve realistic colors without LUT, it will not work, because the colors of Anafi are too warm, yellowish, which can be noticed mainly in green colors.
A good solution (I think) is to use the DJI Phantom4 Dlog2 REC709 LUT.
I downloaded your pictures and put the DJI LUT on the original Plog picture.
Notice the color of the rooftiles, the real color is this and not orange. The blue of the sky is also much more beautiful and the trees are not yellowish green in nature either.
Here is the result:


original Plog -------- Your modified -------- My LUT modified -------center decolor filtercc_log00009202.jpgcc_70900009202.jpgDJI__LUT00000000.jpgDJI__LUT maszk00000000.jpg
I placed a mask on the 4th (last right) picture to filter out the anaphi's characteristic flaw (the middle of the picture is warmer toned than the edges) I suggest you download the pictures and compare with a quick switch.
See my discussion description:
 
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The real colors are not like the colors of Anafi.
the colors of Anafi are too warm,
You're right. Some time ago I wrote about the fact that all the videos of Anafi requires shifting yellow to green: The futility of HDR mode and correction of Anafi's video in Davinci Resolve.

If you try to achieve realistic colors without LUT, it will not work, because...

The color correction method I suggested is the same color modification that occurs when using 3D LUT.
All the LUT files I created (see here) were created using this technology for different lighting conditions and WB camera modes. That is, instead of selecting the appropriate LUT, I use the same technique, but with full control of the result. This takes a couple of minutes of extra time, but gives a better result.

The color correction option you have suggested has a different color temperature. When I took a screenshot, I turned off the node with WB correction for some reason, so my image is more yellow. Again. After applying the WB correction with the gray card, it becomes similar to yours.
 
You're right. Some time ago I wrote about the fact that all the videos of Anafi requires shifting yellow to green: The futility of HDR mode and correction of Anafi's video in Davinci Resolve.



The color correction method I suggested is the same color modification that occurs when using 3D LUT.
All the LUT files I created (see here) were created using this technology for different lighting conditions and WB camera modes. That is, instead of selecting the appropriate LUT, I use the same technique, but with full control of the result. This takes a couple of minutes of extra time, but gives a better result.

The color correction option you have suggested has a different color temperature. When I took a screenshot, I turned off the node with WB correction for some reason, so my image is more yellow. Again. After applying the WB correction with the gray card, it becomes similar to yours.
It must be as you say.
However, many pilots did understand the flight but did less about the post-production of the video. That is why I recommended using DJI LUT. Anafi’s over-warm colors can’t simply be corrected with white balance because then both the white and gray details turn blue, even though they’re okay.
Anyone who does not use color cards and other tricks will also get good results using the DJI Phantom4 (or other) LUT. Throw in the video and adjust a bit on the levels and you’re done with the right color video.
Are you an expert in coloring, have you noticed Anafi’s distinctive flaw, the warmer toned colors in the middle of the picture? It also appears in your recording ...
Save the image I took (far right) and take turns looking at the colors of the group of trees in the middle in quick succession. It is yellower in your image than at the edge of the image. In my picture, I fixed this with a blurred-edged bluish filter.
 
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... because then both the white and gray details turn blue, even though they’re okay.
That's why I'm talking about the need for selective "Hue vs Hue" correction. This solves the problem completely.
 
[QUOTE = "abant, post: 32590, membre: 2072"]
Je veux partager mon expérience avec des vidéos prises en mode plog. Par essais et erreurs, j'ai trouvé un algorithme de traitement assez fiable, mais je serais très reconnaissant des commentaires et des conseils.
Pour le traitement vidéo, j'utilise Davinci Resolve.
1. La première étape, et la plus importante, est la conversion du journal en Rec. 709. Paramètres de conversion.
View attachment 3951
2. WB. Réglage de la balance des blancs à l'aide d'une carte grise de référence avec contrôle dans la fenêtre Forme d'onde.
View attachment 3952View attachment 3953
3. Décalez les couleurs de base "Hue vs Hue" sur la carte de référence des couleurs avec contrôle dans la fenêtre Vectoscope.
View attachment 3954View attachment 3956

4. En outre, la saturation, la luminosité et le contraste, la netteté, etc. au goût.

Ainsi, sans utiliser 3D LUT, vous pouvez obtenir un résultat acceptable qui convient à une correction fine:
View attachment 3958 View attachment 3959

Comment effectuez-vous le post-traitement vidéo?
[/CITATION]

Merci très interressant.

Dans dvr quel ofx utilisez-vous pour plus de netteté? Quelle est votre confiration?

Thk. ?
 
I have been following this thread and tried the DJI LUT. It works quite well. Also the black magic 4K lut works well. But I also found that there was a yellow shift where green should have been. I have been using CoreMelt Chromatic with the LUT first then left gamma gain then colour curves then a bit of replace colour. I finally got a reasonable colour grade this way. It’s not easy though. The Anafi seems quite probe to under exposure without it being obvious while flying. Then the resultant PLOG is so dark and compressed that it’s hard to get any range out of it.
 
[...]
If you try to achieve realistic colors without LUT, it will not work, because the colors of Anafi are too warm, yellowish, which can be noticed mainly in green colors.
A good solution (I think) is to use the DJI Phantom4 Dlog2 REC709 LUT.
[...]
Can you point out where I could download this LUT file?
Can it be used with Sony Vegas Pro?

Thank you.
 

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