When we shoot in the usual Photo Styles our footage mightn’t need very much doing to it at all in post-production, which makes the process of producing a finished video quick and convenient.
Log profiles are something of a happy medium between the bigger files and the hassle of using an external recorder when shooting in ProRes 4:2:2 or ProRes Raw, and the ‘almost finished’ files recorded when using standard in-camera picture profiles, such as the Photo Styles provided in Lumix cameras. The flatter Photo Styles (Flat, Natural and HLG) have done quite well, but the footage recorded in V-Log is clearly much more detailed and produces a nicer result with moderate contrast. The aim was to be able to show the highlight details in the leaf while avoiding a very dark background. This panel of frames demonstrates how different Photo Styles allow us to retrieve details in extreme tonal values in post-capture software. Cameras, unfortunately, don’t work in quite the same way, so we need to find a way to collect all this tonal detail as effectively as possible in one shot. When we look at a view without a camera we can see all the detail in the brightest clouds and in the darkest undergrowth because our eyes scan the scene, as though taking multiple exposures, and the brain fits all the information together in one picture. That makes it an uphill struggle to record enough tones in a photograph so that matches the way our head perceives the scene before us. Unfortunately for photographers our brain and our eyes combine to use a very different method to ‘see’ the world from the way a camera’s sensor works. In all types of photography we battle to capture and retain as much information from the scene as possible, so we can create images that look as realistic as we can make them. Here we discuss what those Photo Styles do and when we might use them
Lots of Lumix cameras now offer very flat V-Log and V-LogL Photo Styles that promise better use of the camera’s dynamic range for videographers.
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