Even without grading the GH2’s footage looks very punchy and contrasty but it is a more baked in look and not as flexible as CineStyle.
The difference between the GH2’s footage out of the box and CineStyle with the Technicolor LUT applied.You can see it is quite a dramatic difference in terms of dynamic range and the detail visible in shadows and highlights, and that CineStyle is a hazy grey with very narrow tonality. The difference between the Faithful picture profile and CineStyle on the 600D.The difference in look between ungraded direct from card footage shot in the flattest possible way in-camera on both the 600D (CineStyle) and GH2 (Cinema Gamma mode with contrast -2).In this test I wanted to test several things: Its almost as if the GH2 does the flat picture profile AND applies grading whilst recording to save you the hassle, when technically it just has more tonal range and colour data in the image in the first place. With CineStyle you really do need to carefully grade the image to make it look good, the GH2 is far less work. So you have to be mindful of protecting the highlights more than the shadows when you shoot. One thing you still can’t do with CineStyle after the shot has been recorded is fix blown highlights. The Canon DSLRs seem from my experience to be very good at holding onto shadow details but they fall off a cliff when it comes to highlights. More dynamic range certainly, but not really more tones or smoother gradation. Tonality is about having a smooth fall off from one shade to another and I am not sure CineStyle is giving me that. So if you want more dynamic range choose Nostalgic. Also the Nostalgic film mode on the GH2 brings up shadow detail more than Cinema allowing you to underexpose relative to Cinema Gamma, thus protecting highlights if needs be. The Cinema Gamma film mode on the GH2 is nowhere near as flat as CineStyle though, but it still grades well because of higher tonality. For dynamic range as well as tonality it still beats the 600D with CineStyle. Even with contrast -2 in Cinema Gamma mode on the GH2 blacks are dark black, then smoothly dark greys appear with plenty of detail. So with CineStyle I have more creative control in post but with the GH2 I still have a better end result, though it is more baked-in. The purpose of grading is usually to give you back that tonality and contrast from the flat image that CineStyle provides – this means you still lose shadow detail or highlight detail in the end because of lack of tonality, but at least you have control over what you lose and how its lost. The GH2 has more – it is the higher contrast camera, with better scaling and yet it still holds onto more dynamic range. Dynamic range is the brightness of each tone.ĬineStyle essentially reduces the brightness of highlights to preserve detail, and boosts the brightness of darker tones to save more shadow detail. Contrast is the number of tones in the scene – across the broad moon surface from completely black to scorched white. Think of the moon, bright on one side illuminated from the sun, completely dark on the other.
You still have the DIGIC4 scaling and issues with tonal range.
For example if you need to bring out some shadow detail, you can – it is in there. The one and only purpose of CineStyle is to give you more freedom to change the image in post. However if you are expecting better image quality, or equating more dynamic range with a better looking image you are wrong, because Canon DSLRs have such limited tonal range. The camera is much more docile now in that respect. Indeed it is more difficult than before to accidentally eliminate shadow detail or blow out highlights by underexposing or overexposing. The purpose of CineStyle on Canon DSLRs is to extract more dynamic range to produce an image over which you can have more control in post and avoid crushed blacks or washed out highlights in the original exposure. I’ve been testing the CineStyle picture profile today, and alongside it my Panasonic GH2 set to the Cinema Gamma film mode. This is the first implementation of its kind for the Canon EOS line of cameras. When the Technicolor CineStyle is selected in the camera it puts the standard H.264 REC709 color space into a log color space. I am using a Canon 600D in this article – for 600D you can substitute 7D, 60D or 550D – they have the same image.ĭownload the new and updated (MGA Apple Color and LUT Buddy compatible) colour correction LUT s-curve from Technicolor
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