GlenColor Picture Profiles for the FS100 - version 1.2

After some more extensive testing and endless waveform gazing, here is my (hopefully last) PP receipt:

I ended up using two different PPs most of the time now.

UPDATE Glencolor PPs 1.2!
I just updated my PPs.
Glencolor1 is for general use, mainly indoor.
Glencolor2 is for outdoor – especially when sunny.

After more testing I removed the highlight protection, since it often produces ugly results, when you don´t have controlled light.
I also provide basic black levels now, if you have time to set your variable black level per scene, I recommend to do so.

GlenColor1:

Black Level: (basic) 0, (controlled = variable)
Gamma: Standard
Black Gamma: Range = High / Level = +7
Knee: Point = 80% / Slope = -1
Color Mode: Type = ITU709 / Level =8
Color Level: -4
Color Phase: -4

Color Depth: all 0

WB Shift = LB -3, cc -5
Detail = Level = -3 / Manual Set = on
V/H Ballance +2
BW Ballance Type3
Limit 7
Chrispening 0
Highlight Detail 0

GlenColor2

Black Level: (basic) -2, (controlled = variable)
Gamma: ITU709
Black Gamma: Range = High / Level = +7
Knee: Point = 80 / Slope = -2
Color Mode: Type = CinemaTone1 / Level =8
Color Level: -6
Color Phase: -4

Color Depth: R=-4, G=-0, B=-0, C=0, M=-4, Y=0
WB Shift = R-B   RGain-6. BGain 0

Detail = Level = -7 / Manual Set = on
V/H Ballance +2
BW Ballance Type3
Limit 7
Chrispening 0
Highlight Detail 0/blockquote>

What I do is:

1. Dialing in my DOF for the scene.
2. Correct the highlights with an variable ND, till the 100% zebras go away (or use a WFM).
3. bring the black levels to zero via the “Black Level” PP setting.

Number 3 is a bit awkward and time consuming, but the only way, to use as much of the 8 bit room as possible.
Believe me, it´s worth the fiddling in the menu. (for fast jobs or run&gun, I use one of the other presets, depending on if they go trough post or not.)

My further workflow goes like this:

Convert everything to Cineform (Film)
Drop them all in Premiere and start editing.
When I´m happy with the edit, I open first light and do the
primary CC in FirstLight – set “Linear” on in and output – maybe also apply a look (LUT) there.
If something special is needed, I also use Magic Bullet or Mojo in Premiere on top of everything.

Frank Glencairn