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Sony A7III SLog2


Dave Del Real
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1 hour ago, Mako Sports said:

less likely to have banding with slog 2 than slog 3 with 8 bit recording. Also Slog 3 is a cineon log curve whilst slog 2 isn't, that's why most people will say slog 3 is easier to grade. 

Essentially shooting Slog 2 so there's less of a chance with artifacts and banding, then switch to slog 3 in post because its easier to grade.

Thanks for the explanation.

So why change to slog 3 gamma instead of going to Arri Log C or Cineon? Just personal preference???

As a side note, I have been moderately happy going from slog 2 / s.gamut to arri log c and arri gamut, then throwing on the Arri to 709 lut that comes with resolve, but then again, I am sure it can be improved upon.

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3 hours ago, Mako Sports said:

Was able to shoot some test shots today. Exposed at 85 ire this time. Once again I shot Slog 2 - S gamut3.cine in camera. Used color space transform in Davinci Resolve Studio. Uploaded both Luts also.

Image 1. Color space transform conversion from Slog 2 to Slog 3

Image 2. XDCAM user Sony Venice - Slog 3 rec 709 look/lut

Image 3. XDCAM user creative lut. (Fuji SL2 1 Stop over) 

 

ACFujish1-SL2-1OVER.cube 947.83 kB · 1 download AC-SL3-to-709-2OVER.cube 994.93 kB · 1 download

What was the point here?

The discussion was about shooting for 106 IRE just before clipping vs shooting for 75IRE as white.

In this scene the whole dynamic range can fit in 6EV... Even my phone can handle it.

 

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3 hours ago, Mark Romero 2 said:

Thanks for the explanation.

So why change to slog 3 gamma instead of going to Arri Log C or Cineon? Just personal preference???

As a side note, I have been moderately happy going from slog 2 / s.gamut to arri log c and arri gamut, then throwing on the Arri to 709 lut that comes with resolve, but then again, I am sure it can be improved upon.

You totally could do Arri log C, I just did S log 3 because I wanted to try AC's rec 709 conversion lut. 

2 hours ago, Deadcode said:

What was the point here?

The discussion was about shooting for 106 IRE just before clipping vs shooting for 75IRE as white.

In this scene the whole dynamic range can fit in 6EV... Even my phone can handle it.

 

Keep a bit more highlight range but reduce a bit more noise vs 75ire. I still think 106 is way to high ?

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35 minutes ago, Mako Sports said:

You totally could do Arri log C, I just did S log 3 because I wanted to try AC's rec 709 conversion lut. 

Keep a bit more highlight range but reduce a bit more noise vs 75ire. I still think 106 is way to high ?

Why is it too high if it is not clipping? The values for the top 6 stops seem to be distributed equally in S-Log2.

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4 hours ago, Mako Sports said:

You totally could do Arri log C, I just did S log 3 because I wanted to try AC's rec 709 conversion lut. 

Keep a bit more highlight range but reduce a bit more noise vs 75ire. I still think 106 is way to high ?

I shoot a few samples for you.

ETTR SLOG2:

ETTR_Original.thumb.jpg.53b15cfc3e0cd7677e7e125c674c560c.jpg

69 IRE White SLOG2:

69IRE_Original.thumb.jpg.d2b3e0a4533e68c20f49bca9f2b63206.jpg

ACES conversion, and recovery:

ETTR.thumb.jpg.bb405ef02917bbd291b4d39664b3e452.jpg

69IRE.thumb.jpg.c73dcdd41ebf07a20eae61b9f7a91532.jpg

Side by side after correction both clips:

sidebyside.thumb.jpg.b6c1970b0e240edad198868b319ddc4f.jpg

 

Sidenote: this scene has about 3 stops DR, it's absolutely unnecessary to shoot a scene like this in slog2, but this is the best scene to show how LOG profiles works.

The difference between the two clips is more then 4 stops in exposure.

 

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I've purchased colorized aces slog2.cine3 and, finally, I can enjoy shot in slog mode on my a6300.... It's like have a raw file when you can get a proper exposure moving only one slider, i think that the same with withe balance.. 

Color are super accurate with finally red object that are red and not orange.... Thank you so much.. 

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On 12/15/2019 at 6:41 PM, Dave Del Real said:

Well, might sound funny but tried Kraig Adams' settings (Standard - PP off) at 2/3 under exposed and it's amazing what you can pull out of shadows - without noise penalty. I'm now more confused. I guess if it looks good...

For all the standard profiles and the cinegammas, it always seems that the most important thing to me is protecting the highlights because generally when colors clip, they clip nasty. Every time I clip using a standard profile, the highlights get super-saturated. You might see this in many videos posted on youtube, too, where a highlight on a person's face just becomes sort of a  nuclear urine blotch.

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2 hours ago, Mark Romero 2 said:

For all the standard profiles and the cinegammas, it always seems that the most important thing to me is protecting the highlights because generally when colors clip, they clip nasty. Every time I clip using a standard profile, the highlights get super-saturated. You might see this in many videos posted on youtube, too, where a highlight on a person's face just becomes sort of a  nuclear urine blotch.

Its cause they are exposing to high. I usually expose my cinegammas 85 ire and get great results without color clipping. 

When dealing with skin tones the image should be exposed even lower, nothing is worse than clipped skin. 

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22 hours ago, Mark Romero 2 said:

...You might see this in many videos posted on youtube, too, where a highlight on a person's face just becomes sort of a  nuclear urine blotch.

Ha! Great description.

 

I'm finding Standard and Cine2/Cinema work good in a pinch with minor adjustments and I think the sweet spot though is SLog2/Sgamut3.Cine with +10 Sat. Then CST in Resolve to Arri or just an ACES workflow.

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3 hours ago, Dave Del Real said:

Ha! Great description.

I'm finding Standard and Cine2/Cinema work good in a pinch with minor adjustments and I think the sweet spot though is SLog2/Sgamut3.Cine with +10 Sat. Then CST in Resolve to Arri or just an ACES workflow.

I might have to try shooting slog2 / sgamut3.cine with the saturation cranked up to 10. I normally have saturation set to 0 or at the very most, +3.

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On 12/16/2019 at 12:13 PM, Gianluca said:

I've purchased colorized aces slog2.cine3 and, finally, I can enjoy shot in slog mode on my a6300.... It's like have a raw file when you can get a proper exposure moving only one slider, i think that the same with withe balance.. 

Color are super accurate with finally red object that are red and not orange.... Thank you so much.. 

Can you tell us more ?

what exactly did you purchased and how use it!

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