Pond


Geese teams and other birds over the peat grasslands around Alphen in the Green Heart of Holland. Filmed with iPhone X using the Ambeo headset (Sennheiser – Apogee) for binaural sound. Pond | 20201110 | Michel van der Burg | 1-memo•com

Dark Cloud


Dark Cloud ~
Sun behind a dark cloud hanging low over the polders in the Green Heart of Holland. Filmed with Sony ZV-1 camera (HDR – HLG2) using the internal microphone. Sound of nearby cows behind a fence. Dark Cloud | 20201014 | Michel van der Burg | 1-memo•com

Grass


Dairy cows grass in the polder peat meadows around Alphen in the Green Heart of Holland. Filmed with Sony ZV-1 camera (HLG2) using the internal microphone. Grass | 20201013 | Michel van der Burg | 1-memo•com

Final Color Grading HLG Sony ZV-1


Final choice for color grading HDR footage from the Sony ZV-1 filmed using the Picture Profile 10 (PP10) with the Hybrid Log-Gamma HLG2.
My final choice is that version uploaded Sep. 25th (20200925) prepared in a standard library (Rec. 709) of Final Cut Pro X (FCPX). Here I added Neat Video noise reduction, for this 20200929 final version !

Over the past two days I tried to improve on this video by editing in a in a Wide Gamut-HDR FCPX library, producing several versions : 20200928, and 20200927. However , I am using the Late 2015 Retina 5K iMac with a P3 color gamut – not matching the wider Rec.2020 gamut of the footage. Strange things – big difference in colors/luma – happen working with that Wide Gamut library , when exporting the edited work in either h264 (or h265) versus Apple ProRes 422.

I believe I obtain superior and more consistent results when grading in the standard FCPX library (Rec. 709), after changing the clips setting in this library for ‘Color Space Override’ in the FCPX clip inspector : from ‘Off’ to ‘Rec.2020’ (corresponding to the BT.2020 setting in my Sony ZV-1 camera’s PP10 profile).

Next for color grading only the color wheels in FCPX were used for a slight overall (master) increase of saturation , a slight reduction of the brightness of highlights and shadows, plus a larger increase in brightness of the midtones.

Sound from the Sennheiser MKE 200 microphone without the furry windshield.

Final Color Grading HLG Sony ZV-1 | 20200925~20200929 | Michel van der Burg | miracles.media

Color Grading Sony ZV-1 Cinematic HLG footage


Here a slightly color graded film version of the raw HDR footage (PP10 HLG2) filmed with the Sony ZV-1 camera shown in the Sep 20th published video ‘Sennheiser MKE200 Microphone Review’ (20200920).

Before -for the past years – I have been filming using the standard profile with my Sony cameras , generally with exposure reduced -0.3 to -0.7 , and generally with no color editing or limited to reducing brightness of mid tones and sometimes the highlights – using the color wheels in Final Cut Pro X (FCPX). Intensive color grading was used only for underwater video , archive footage, special effect videos, or when needed for combining footage from different cameras.

Over the past week, however – while focussing actually on audio tests comparing microphones with the Sony ZV-1 camera , I have started using the Picture Profile 10 (PP10) with the Hybrid Log-Gamma ‘HLG2’ , and kept using it when I learned a few days ago that PP10 HDR footage can be used with no modification after changing the clips setting (in the FCPX clip inspector) ‘Color Space Override’ from ‘Off’ to ‘Rec.2020’ (corresponding to the BT.2020 setting in the Sony default PP10 profile.

So I used original – non color graded – PP10 footage for the review videos published the last week on the Sennheiser MKE 200 microphone of Sep. 20, 23, and 24 (20200920, 20200923, 20200924) .

Today I took that clip I used before for the 20200920 video , and did this first simple color grading resulting in a more realistic image – quite different tweaking from what usually is needed , but nevertheless fairly simple changes : turning of the color wheels in FCPX : slight overall (master) increase of saturation , plus a slight reduction of the brightness of highlights and shadows, plus a large increase in brightness of the midtones.

Sound from the Sennheiser MKE 200 microphone without the furry windshield.

Color Grading Sony ZV-1 Cinematic HLG footage | 20200925 | 1-memo.com

Sennheiser MKE200 Windshield Review 3


Testing the included furry windshield accessory of the Sennheiser MKE 200 Microphone with a gentle breeze – 19 km/h – 12 mph – this week at sunset in the polders of the Green Heart of Holland, – using the Sony ZV-1 camera with in camera volume levels of 20, and 25 respectively. Also checking background sound from this directional, super-cardioid, microphone.
Sennheiser MKE200 Windshield Review 3 | 20200924 | Michel van der Burg | 1-memo.com