Posts Tagged ‘grading’

Only a few years ago S-LOG was a $3800 upgrade for the Sony CineAlta F3, itself a $15,000 camera. S-LOG made its debut on the Sony F35, a workhorse of Hollywood.

Now Sony have put this on a $2500 consumer camera along with the best full frame sensor I have ever used for video. How good is it? Very!!

I am sharing a pack of LUTs for the A7S which can be applied in Premiere, Resolve, etc. for an instant cinematic look to your A7S S-LOG 2 footage.

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Three LUTs are provided in the zip. Dynamic – for best dynamic range, will suit a low contrast shot requiring high dynamic range and plenty of shadow detail. Also good for low light. Vivid will give a punchier look to those shots that benefit from it like a sunset and where some dynamic range can be scarified for higher contrast and saturation. S-GAMUT is for when shooting S-LOG with the Color Mode of S-GAMUT and compensates for the purple tint to reds I find I am getting in this mode. For the Dynamic and Vivid LUTs you must set the camera colour mode in PP7 to ITU709 Matrix.

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Blackmagic Production Camera 4K sample - no FPN noise

Above: my sample showing no fixed pattern noise in low light at ISO 400 on the Production Camera – it’s all about the grade

Almost all Blackmagic Production Camera users have experienced fixed pattern noise – a banding effect or grain texture over the image – and they are quite upset at Blackmagic over the issue. But is the fixed pattern noise problem on the Blackmagic Production Camera a case of faulty cameras OR is it a limitation of the spec?

This is a complex issue and every user seems to report something different. However in my own experience with the camera and of looking at the experiences of others I have to say that all units look to perform in the same way. It is a limitation of the spec, not a case of a large number of faulty units being shipped out.

Yet many users – over 200 of them – are now putting pressure on Blackmagic to acknowledge a hardware or quality control ‘fault’ and to do hardware replacements. Sorry but I just don’t think this is right.

It is best to look at how to handle the camera in order to avoid the FPN in the first place…

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My full review of the Panasonic GH4 (final retail unit) is coming next week. Until then I am enjoying Philip Bloom’s views on the camera here!

A big thanks to B&H Photo & Video in the US for shipping internationally a GH4 unit with no recording limits, I got it before it was even available in Europe. Delivery took just 2 days! Impressed! Also thanks to Susanna, the star of my video above shot in Berlin.

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Test footage shot by Frank Sauer and Andrew Reid

Something I have discovered while editing all this GH4 4K material is that the 8bit codec Panasonic uses is quite complex and requires more power than ProRes. I have also found that the sequence settings and video proxy settings in Premiere are a good thing to pay attention to this time… the default ones no longer cut it.

Along the way I have found a few tricks to get the colours in GH4 footage to absolutely sing with Film Convert and Premiere using the Alexa Rec 709 profile.

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For the full guide to the world of raw video on the 5D Mark III – order the EOSHD Shooter’s Guide book by Andrew Reid

With the new version of Blackmagic DaVinci Resolve (10.0) you can grade and edit 5D Mark III raw DNG sequences, with image quality at the Adobe Camera Raw level for the first time and performance through the roof.

EOSHD Film LUT is an instant cinema style which quickly and easily improves the look of 5D Mark III raw video in Resolve 10. No grading skills required.

This LUT gives you a more film-like image, a less harsh electronic look compared to the standard Rec.709 colour space and default settings. It gives you more detail in the highlights and a smoother more natural feel to colour.

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The EOSHD Panasonic GH4 Shooter's Guide
The EOSHD 5D Mark III Raw Shooter's Guide
The EOSHD Sony A7 Series Guide to Full Frame Lenses
The EOSHD Panasonic GH3 Shooter's Guide
The EOSHD Anamorphic Shooter's Guide - Second Edition
More EOSHD Guides