I just wanted to create a demo commercial to practice my skills on music and color grading. So I was just looking for someone to shoot his own car or provide some footages of a single car so I can practice.
I can get footages of my own car, but my camera isn’t that good enough (A 5 Years old sony, which captures 360p). And also doesn’t support manual modes.
And as you know, it’s impossible to get single car (refering to shooting a car model of same color, model, and place) in stock videos.
Maybe you can organize a contest with those footages on your youtube, or just share them with drive, dropbox or icloud, or any other place for those who want to practice.
I am talking about some shots of a car from inside, outside, side, back, etc. The car should appear in all of the shots. From eg: If it is a tesla in the first, it should also be on the others, not like a tesla on the first and Mercedes on the second.
Why log? Log in 8-bit footage can be problematic. Log footage by nature needs to have the tone curve manipulated to look correct, to shrink the wide dynamic range of the log curve into the smaller dynamic range of BT.709 (or to account for tonality differences if they happen to be the same). This poses two problems.
First, Shotcut doesn’t have a curves filter yet, so it doesn’t offer the necessary control to alter a log curve effectively. Secondly, altering the curve is a major pixel-value stretch for 8-bit footage which will introduce significant banding. This is why log only makes sense for 10-bit or higher sources that are also edited in a 10-bit pipeline. Shotcut is not yet a 10-bit pipeline.
The main issue is that 8-bit pixel encoding is right on the border of the human eye being able to detect minor differences. This is perfect for delivering final results to customers because no bits are wasted on tonality that the eye can’t detect. This makes for smaller file sizes. But the downside is that any major alterations will create bands that the eye can detect because there’s no wiggle room like 10-bit offers.
When using an 8-bit editor, the best results will happen if the source is captured as close to the final desired style as possible, so that few alterations are necessary in post, meaning the chances of banding are minimized. An 8-bit gamma workflow is pretty much the opposite of the ideal 10-bit log workflow due to technical limitations.
So far, I have been referring to true log curves like S-log or V-Log. Some cameras offer “color profiles” that try to act like log curves (Panasonic Cinelike-D comes to mind) but those are not true log curves, and not standardized enough to be used by stock sites. Since those profiles don’t need as much stretching to grade as a true log curve, sometimes they can be useful in 8-bit just to grab a little extra dynamic range that looks good in-camera.
Sorry for the brain dump. Log footage isn’t discussed much on the forum, so I wanted to get the ball rolling on when it makes sense and when it doesn’t in regards to Shotcut.