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Alex Uzan

A6300, Flat profile other than slog

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21 hours ago, majoraxis said:

@DaveAltizer - Loving it as as well.  Seems like we are seeing the maximum quality 8 bit 4:2:0 can give with an 11bit equivalent log file.  It not only grades easy, but does not seem to fall apart like S-Log with standard settings.  I really appreciate you sharing this profile - Thank you!

You bet! It gives you that color depth that is missing from normal s_log. I've always felt the Sony stuff I see online was missing that "thick" color that you get naturally from canon and Blackmagic. 

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EOSHD Pro Color for Sony cameras EOSHD Pro LOG for Sony CamerasEOSHD C-LOG and Film Profiles for All Canon DSLRs

Quick question. Is anyone getting noisy shadows with these recommended settings. I did a quick check as I have a shoot tomorrow and using the settings on an A7s2 I can see a lot of noise in the viewfinder and monitor. Haven't had the time to check the stuff on a computer properly but just wanted to put this out there.

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1 hour ago, dafreaking said:

Quick question. Is anyone getting noisy shadows with these recommended settings. I did a quick check as I have a shoot tomorrow and using the settings on an A7s2 I can see a lot of noise in the viewfinder and monitor. Haven't had the time to check the stuff on a computer properly but just wanted to put this out there.

Remember to over expose by a stop or two and drop exposure a bit in post. Doing the reverse will result in more noise.

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I am not finding it noisy on the A6300.  I am exposing over 1.5 to 2 stops.  Also, in Premier I am using the Brightness & Contrast video effect and I turn up the contrast up to 50 (from the default which is zero) and that is my decoding "LUT" rather that using the S-Log 2 LUT.  Then I adjust the brightness if it look too hot to bring down the highlights.  If I do have to lower the brightness (to save the highlights) then I add the Lumetri color correction video effect BEFORE the brightness and contrast video effect (or you will not be able to bring the shadows back after crushing them with contrast) and raise the black level first and then the shadows to uncrush the blacks.   That said, increasing the contrast in the brightness and contrast video effect in Premier is also increasing the saturation and reducing brightness (when using the ProcAmp video effect that treats contrast and saturation separately - they both have to be turned up in equal amounts (to 200) and turning the ProcAmp brightness down to -50 to have the same effect as turning up the contrast up to 50 in the Brightness & Contrast video effect), so if you are trying to dial in your external monitor, depending on how your external monitor handles saturation and brightness when you increase contrast, you may have to increase saturation as well as contrast and decrease the brightness to get an image that looks color corrected.  Theoretically, if your monitor has a broad enough range for its contrast, saturation and brightness settings, you should be able to "decode" The Sony Profile without a LUT.

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Sorry being over optimistic in my last post about using simply brightness, contrast and saturation to dialing the color correction. Seems like the S-Log 2 or S-Log 3 LUT (in Premier) is a good starting point as an input LUT and adjust from there.

Dialing in your monitor with brightness, contrast and saturation in a controlled light situation can be a benefit, but because of the log nature of the footage, changes in exposure and lighting change it perception of contrast etc so it will not be reliable without LUT under non-controlled lighting situations.

It's a great profile that is can be more easily monitored with non LUT monitor as compared to standard S-log profile,  but caution is advised when dialing things in with brightness, contrast and saturation in post or with external monitors due to the log nature of the footage.

Mark

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2 hours ago, dafreaking said:

Hey guys, any specific LUT for the aforementioned Picture Profile/Setting. The Slog 2 one in Lumetri looks horrible

The vision color ones (the ones made specifically for Sony) are pretty good I'm finding but I prefer FilmConvert. Also I have made a LUT for Panasonic cameras that incidentally works quite nicely with this slog setup

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6 hours ago, Inazuma said:

The vision color ones (the ones made specifically for Sony) are pretty good I'm finding but I prefer FilmConvert. Also I have made a LUT for Panasonic cameras that incidentally works quite nicely with this slog setup

Cheers! <Aybe you want to share it :D?

 

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On 6/29/2016 at 2:42 PM, DaveAltizer said:

Bro. I have found the best profile! I've shared it with so many people because they all want it it's so good. :) it's got a very "Canon" look to it and it grades so nicely. It really adds a ton of depth to the image that lacks in the normal Sony profiles. It's all about that "color depth". 

THE SONY PROFILE

Black Level: 0 (it's disabled in s-log2 anyway)
Gamma: S-log2
Black Gamma: Range- Narrow, Level -7
Knee: auto
Color Mode: sgamut3.cine
Saturation: +32
Color Phase: -2 (this is for a7sII and a6300, for original a7s use -5)
Color Depth: +6 (all of them)
Detail: -6

Expose 1.5 to 2 stops over.

You may need to dial the green tint out in the white balance shift. Let me know how you like it. I found this profile somewhere on dvxuser and have fallen in love with it. Now all my friends shoot on it 

 

Isn't increasing the saturation and color depth actually reducing the dynamic range?
I was thinking it was supposed to be left at default values, adjusted in post, and the only and most important thing about sLog2 is to overexpose by 2 stops. 

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3 hours ago, mirekti said:

 

Isn't increasing the saturation and color depth actually reducing the dynamic range?
I was thinking it was supposed to be left at default values, adjusted in post, and the only and most important thing about sLog2 is to overexpose by 2 stops. 

I made this profile before the EOSHD Sony 3.0 profile was out. If you want the best image use his profile. It looks the best. 

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10 hours ago, DaveAltizer said:

I made this profile before the EOSHD Sony 3.0 profile was out. If you want the best image use his profile. It looks the best. 

Cool. Do you perhaps know if EOSHD Pro Log document was done under assumption the footage would be 1-2 stops overexposed as Slog2?

I was thinking of putchasing Pro Log just to have a good starting point with Slog2, but grade using ACES in Davinci.

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5 hours ago, mirekti said:

Cool. Do you perhaps know if EOSHD Pro Log document was done under assumption the footage would be 1-2 stops overexposed as Slog2?

I was thinking of putchasing Pro Log just to have a good starting point with Slog2, but grade using ACES in Davinci.

Yes, Pro Log S is designed to be overexposed just like you would regular S Log 2.

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Can someone pass comment on how one might expose / grade anything in the surf where you're dealing with verrrry bright highlights, not a lot of darks, and often very little difference between the ocean and sky / horizon line. Using the aforementioned profile I got some terrible results exposing to +2, but even dropping to +1 everything is still very difficult to pull back from the flat, crushed blacks look the aforementioned profile provides..

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3 hours ago, JoshFromPerth said:

Can someone pass comment on how one might expose / grade anything in the surf where you're dealing with verrrry bright highlights, not a lot of darks, and often very little difference between the ocean and sky / horizon line. Using the aforementioned profile I got some terrible results exposing to +2, but even dropping to +1 everything is still very difficult to pull back from the flat, crushed blacks look the aforementioned profile provides..

If a gopro can handle those situations it means it does not require log profile.

Can you share a short clip?

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