FiLMiC Pro LogV2 X-Rite ColorChecker Test | iPhone XS Max

FiLMiC Pro #LogV2 color correction test, shot with the iPhone XS Max using the X-Rite #ColorChecker Passport Video.
Full video, uncorrected vs corrected comparison and breakdown. Graded in DaVinci Resolve 15.3. Film emulation using FilmConvert OFX plugin for DaVinci Resolve.
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Richard Lackey:
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[@gomakefilms]

Love it, brilliant, Richard - thank you for sharing and breaking down your colour grading techniques

[@RichLackey]

Thanks! This video is just a test really, there is also a two part video tutorial on exactly how to use the Colorchecker Passport Video to achieve perfect color correction. Part one is how to use the chart when shooting, part two is color correction using the chart.

[@CreepyDan]

Great video and very nice footage! Really like your channel! I recently started using the FiLMiC Pro LogV2, except I am on an old iphone 6s+ haha, it does help get the most out of that old phone though. Hope you are having a good one Richard, cheers from Canada!

[@RichLackey]

Thanks Dan, yes it should help you get the most out of the older devices too. I find I actually get more consistent levels and color with them. The main reason I’ve had to start using the X-Rite ColorChecker chart is because the iPhone XS, XS Max, and XR have smartHDR and dynamic tone mapping which push levels around automatically. My SE and 7 Plus don’t do that, which makes color correcting and shot matching a lot easier. Still, the chart works wonders to be able to color correct pretty much spot on regardless.

[@tompfeiler1426]

6splus is still great!

[@RichLackey]

+Tom Pfeiler Absolutely. Solid camera and still holds its own.

[@daurye92]

@@RichLackey So you can't disable smartHDR on the iPhone XS? And how About on the 11s?

[@leedobson8031]

Very helpful video. Thanks for making such an informative channel.

[@RichLackey]

Thanks for watching!

[@justincase8731]

This is awesome!! You made it look like it’s not an iPhone! Did you use any lens?

[@RichLackey]

Thanks Jayden! A lot of it comes down to post production. How you color correct and shot match is important, as well as the grade. I find the ColorChecker chart is really my best friend in getting my results in post production. Having that reference in shot giving white, middle grey, black, and the color references really makes it possible to get a consistent, cohesive look across a whole sequence of shots.

[@RichLackey]

Ah, I forgot to answer you about the lens. This wasn’t shot with any extra lens. Just the phone and the PolarPro Iris ND filters, and a gimbal. I think it was the Zhiyun Smooth 4. I posted a video a few days ago that looks at my main equipment. You can see more about the PolarPro Iris ND filters in that video. kzbin.info/www/bejne/o5eqoWmHmMyqfrs

[@justincase8731]

Richard Lackey Agreed! And I have checked your Tutorial on the Cololorchecker many times and it doesn’t seem that easy to work with but it is exciting! And it’s not cheap also! I’d be stuck to what I should buy first! The Colorchecker or an Anamorphic Lens? Or an iPhone 18mm wide lens?

[@RichLackey]

Hmm, I think I’d go for the lens. Anamorphic is awesome. 🙂

[@justincase8731]

Richard Lackey I’ll have to check it right now!!

[@A23049]

Hi Richard, awesome and very helpful video! A question: what is the use of de-log? Why not just correct from the color checker without applying de-log?

[@RichLackey]

Thanks! You’re absolutely right, the deLog lut is a unnecessary step. It won’t hurt anything but it is redundant. I’m not quite sure why I started using it before manually correcting anyway. I’m not using now. This has been a constantly evolving thing. I’m working on a video for an updated workflow now. It’ll take a little while to finish but it’s in the works.

[@A23049]

Richard Lackey Cool, thanks for your reaction, and looking forward to your next video :)

[@avpfilms27]

Great 👍🏻

[@RichLackey]

+avpfilms Thanks 🙏

[@ebenatti]

Good Job. Just a question: where is possible obtain Lut delog V2?

[@RichLackey]

Thanks! You can download it for free from the FiLMiC website. www.filmicpro.com/luts/

[@DavidKfilmmaker]

Is the lut and the color checker correction accomplishing the same thing?

[@RichLackey]

Hi David, not really. The lut is a "dumb" mathematical transform, it can only take input values and blindly transform them into output values based on a table. So a lut doesn't know if white balance is off, or a shot is under exposed, or over exposed. It also can't compensate for Apple's dynamic tone mapping, which can completely throw off the accuracy or usefulness of any lut in the first place. The FiLMiC deLog lut may help get part of the way there, but not all the way. That's why there is a need to manually correct, and that's where shooting the chart provides an exact reference for how white, middle grey, black, and primary and secondary colors were recorded. Then the shot can be corrected perfectly in post production by making the required adjustments to line up the values from those reference chips on the chart with the target values on the waveform and vectorscope. This process can be time consuming, and is a manual process, but it will perfectly correct out and compensate for any issues and inconsistencies in the source video shots. When doing this, the FiLMiC deLog lut doesn't actually do much, so it can be used before manual corrections, or not used at all. It won't make any difference to the end result when correcting using the chart. I have a tutorial I've split into two parts showing how to do this. Part One (Shooting using the Chart): kzbin.info/www/bejne/fZrbl2ararOij80 and Part Two: (Color Correction): kzbin.info/www/bejne/pqTZmo1mmJJ1oc0 It's a good exercise to practice just to learn a bit about color, and to know this technique, even if you don't use it all the time.

[@LongCaoOfficial]

The ungraded version looks better to me

[@LongCaoOfficial]

The white balance of log v2 in this clip has an orange teel shift vibe and looks very similar to Red and Arri Alexa raw footage. Witch I really love.

[@RichLackey]

I'll have to check the source files again for that. I set white balance while shooting using the white balance target on the ColorChecker chart, so it was more or less accurate when shot, and then corrected it in post, also using the chart and scopes. Log encoded video is never intended to be watched though, it's intended to redistribute a limited number of encoding values non linearly to extend the overall range that can be recorded. It will always be corrected to a target output color space, like Rec.709 in my case. I'd be interested to hear what you think of my latest film emulation. If you like the low contrast look, I imagine this may be too contrasty and dark for your taste. Still, interested in your comments. kzbin.info/www/bejne/qIHMXpWGoNGlr6M

[@LongCaoOfficial]

Richard Lackey thank you for your kind response. Yes the initial wb is indeed right or wrong, but for me right does not have to be better, and correct it does not mean better. Yes I actually prefer low contrast look on a smartphone, due to it's digital sharpness. More contrast make them look more harsh to the eye and crush the black more, so the overall image does not look clean and soft as the original footage. Sadly Iphone does not allow filmic pro to control edge detection so the digital sharpness is still a problem now. If apple allow third party app to totally control raw footage then I think high contrast is not a problem anymore. I have watched your mention video before and honestly I still prefer the low contrast version due to the ugly shapness they add to the footage, and the more contrast the more visible sharpness. It's a hardware problem, not your fault. But for me, I rather let the footage look flat and soft than enough contrast but arfficially sharpness. Sorry for my not very good English ;)

[@LongCaoOfficial]

Richard Lackey and to continue to your point. As I know, Apple does not allow any phone to use true log, they only allow third party app to use Rec.709 color space. So for me and alot of other people, log v2 is not a true log. It's just combination of curve, highlight shadow adjust to give a user highest dynamic range as posible, but not nearly closed to true log. Log v2 has enough saturation and contrast to be final watched, just record some clips in under exposure and you will know what I mean. The ouput of filmic pro is still rec 709. Record in low light and set exposure low enough and the footage is already to be used :D

[@RichLackey]

Yes, you are absolutely correct, a true log is not possible at the moment with these devices. I also am hoping for 10-bit encoding soon. FiLMiC LogV2 is working well though, I like using it, it's a clever workaround and I feel that it does record slightly more overall range, and more information in the shadows and midtones. The edge sharpening is a big problem. I like to use a Tiffen Black ProMist filter, when shooting, not too strong, I have 1/4 diffusion. I think it helps soften the image a bit. Thank you for taking the time to share your thoughts. That's valuable to me.

[@TonnyGeek]

What parameter used you? in source gamma in davinci? SLog2, VLog?

[@RichLackey]

Ah good question. In the FilmConvert Nitrate plugin I used ARRI LogC source, but only after a node with my FiLMiC LOGv3 to LogC transform.

[@RichLackey]

Oh… actually ignore my first reply, that’s not true. I wasn’t even using that workflow yet when I made this video. This is an older video, I don’t actually remember. 😂 I’ll have to open the project to check. I shot the X-Rite color chart, so I had the white, black and middle grey references, so if I’m not mistaken I balanced it manually to the scopes. I work in a Rec709 timeline, and in this case it is no particular source gamma, it would be a custom curve based on putting the recorded chips on the color chart to the right levels on the waveform for Rec709. I used to do this (or at least check it) shot by shot because the iPhone doesn’t observe a fixed gamma encoding, it’s effectively dynamic due to the local tone mapping which is a real pain.