SLOG 2 with Stills colour mode - anyone else tried it?

[Andrew Reid]

It completely solves the colour correct hassle of normal SLOG 2.

S Gamut is really tricksy.

Has anyone else tried shooting this way? Downsides? Results?

I am trying this on the FS5 and A7S II and suddenly I can grade SLOG 2 like Canon LOG with just a simple master luma curve adjustment in Premiere and nothing else!

[Don Kotlos]

With slog2 i found Pro to work much better than sgammut.

I will give stills a try too.

Edit: the difference of stills from pro is less bright red and blues. Not bad at all.

Do you find stills closer to canon than pro?

The FS5 allows for even finer color matching if you play with the color depth, phase and matrices. In principle you should be able to match clog in camera.

I guess the only downside is you can't use LUTs that presume sgammut  

[Ed_David]

Pro gamut is nice - I use this.

Didn't know they had this on the fs5 - that's awesome!

just mess around with all of them and a color chart and in resolve, boom, see what is the nicest and quickest to make good skin tones.

[kaylee]

It completely solves the colour correct hassle of normal SLOG 2.

S Gamut is really tricksy.

Has anyone else tried shooting this way? Downsides? Results?

I am trying this on the FS5 and A7S II and suddenly I can grade SLOG 2 like Canon LOG with just a simple master luma curve adjustment in Premiere and nothing else!

thats great andrew!! could you post a couple screengrabs?

[austinchimp]

I've had very limited attempts at using this, but not delved very deeply at all. I'm currently trying to work out the colour of the A7Rii. The 1DC has spoiled me, although I'm still getting better with that and have made some breakthroughs lately.

One thing I've always wondered - what is the theoretical advantage of S-Gamut in a compressed 8 bit space? I have an impression that it gives a more cinematic and subtle look than using Pro or Still, but I can't back that up with any objective evidence, it's just my impression from limited S-log use and watching other people's work.

For a long time I used a Kholi's picture profile on the A7s but found Pro to be unnaturally saturated at times, particularly when it came to reds.

I've also been experimenting with Cine4 and S-Gamut as the colour profile, then creating a S-Gamut to Redcolour4 lut in Lutcalc, and manually grading the luma with curves. Seems to give a really nice result with rich colours. Anyone else care to give it a try?

[cpc]

SGamut isn't friendly to manual adjustments because of the heavily offset green primary. This is the reason Sony introduced SGamut.Cine which aligns much better with P3 and sRGB/Rec709.

Cinema, Pro and Movie (same as Stills or at least very similar, I think) gamuts have primaries aligned with Rec709/sRGB and are for this reason easily moldable with simple luma curve adjustments without introducing hue disbalance. Skin hues are subtly rotated between these (Cinema is a bit towards yellow, Movie - towards magenta, Pro in the middle; but these are subtle), and there is a small difference in hue compression (Cinema > Pro > Movie; Movie is the most compressed) but all three are fine. I've been shooting s-log2/Cinema, but wouldn't hesitate to use any of these.

One thing I've always wondered - what is the theoretical advantage of S-Gamut in a compressed 8 bit space? I have an impression that it gives a more cinematic and subtle look than using Pro or Still, but I can't back that up with any objective evidence, it's just my impression from limited S-log use and watching other people's work.

It is really a question of how you interpret the color values. Since SGamut is the largest it may appear less saturated (= more subtle) even after treating it. But it certainly does have the problem (without proper remapping) of pulling skin towards yellow.

[austinchimp]

In principle you should be able to match clog in camera.

 

I would pay good money for an in camera Sony S-Log2 profile to match the 1DC C-Log, which allowed using Canon Luts. I know Andrew has released a custom profile for the A7Rii with a Lut, but I haven't had time to check it out yet. I wonder how close it is to C-Log.

[Don Kotlos]

I would pay good money for an in camera Sony S-Log2 profile to match the 1DC C-Log, which allowed using Canon Luts. I know Andrew has released a custom profile for the A7Rii with a Lut, but I haven't had time to check it out yet. I wonder how close it is to C-Log.

A7rii/A7sii do not have the color matrix correction but only depth and phase. It could still be enough parameters to get really close to clog but the FS5 should be able to do it even closer. 

There is another thread where we asked  @Nate Mook that has 1DC and A7rii to see if he can match the colors in camera and share the settings.

[jcs]

Used Slog2 with Pro or Cinema on A7S and SLog2 with SGamut3.cine on A7S II with good results for skintones.