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    #31
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    [QUOTE=jonpais;1986779155]Graded footage.

    Just wanted to point out that before people continue bashing the"Sony Look" that unless there is more to this setting than he says, Jon's set up is basically just a Sony Preset: Cinegamma 2 (Could probably be any cinegamma but Cinegamma 1 would look identical with only a little more headroom in the whites.) and "Cinema" color mode . Detail -7 is recommended for any setting to avoid over sharpening. That is not to criticize Jon's footage - it is indeed beautiful.

    So really its just Cinema color mode - i.e. it is a "Sony Look". Or maybe its like the quote I'll never forget from some famous Hollywood DP American Cinematographer describing the importance of the 'Art Director" : "If you want a pretty picture of a girl - first find a pretty girl." Jon no doubt did that very well.
    Last edited by LennyLevy; 02-16-2019 at 02:13 PM.


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    #32
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    Workflow, Leeming LUT One - HLG BT.2020 to rec.709 in Final Cut Pro. Lovely colors, improved dynamic range.
    Last edited by jonpais; 03-11-2019 at 04:03 AM.


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    #33
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    I tried leeming lut one HLG3 BT2020 to rec 709 it is not bad at all but i prefer my process (convert hlg to slog3 and apply my koji slog3 lut) render is far better to me and match far better with FS7.


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    #34
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    Quote Originally Posted by jonpais View Post
    Workflow, Leeming LUT One - HLG BT.2020 to rec.709 in Final Cut Pro. Lovely colors, improved dynamic range.
    I like this workflow and camera settings. Do you prefer HLG over SLog2?


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    #35
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    Quote Originally Posted by David Del Real View Post
    I like this workflow and camera settings. Do you prefer HLG over SLog2?
    Thanks. I haven’t worked with either long enough to say. I hope to do a regular project with HLG soon. Gerald Undone prefers HLG3, but you’ll have to reduce saturation in post and pull highlights down a bit if I remember correctly.
    Last edited by jonpais; 03-13-2019 at 07:35 PM.


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    Hlg hdr
    #36
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    Ken Ross made a spectular HLG HDR video of his trip to Iceland last year with his a7 III. It’s got to be seen on a true HDR display like an LG OLED to be appreciated.

    https://youtu.be/apgMx26AP8M


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    #37
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    After using HLG3, SLog2 and Cine2, it seems like I keep going back to Cine2. HLG3 is really good with the Leeming LUT Workflow, Slog2 seems to work okay in bright daylight but Cine2 just works for me as an all around good profile - especially with the Leeming LUT.


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    #38
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    SLog2 with SGamut3.cine + sat was super easy to work with on the A7S II. Sony's SLog2 is similar to Canon's CLog, which is popular in the Canon world and most find it easy to grade without a LUT: just a simple curve and you're done for tone mapping / contrast. Curious if that's still true for the A7 III and if there's a better color space than SGamut3.cine which takes even less work- just edit a curve and you're basically done (if WB etc. was correct).


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    #39
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    That dynamic range in HLG3 though... I'm torn. Just looked at some footage shot this weekend in HLG3 and SLog2 and they both look great. Dang. Oh well...

    I know that Paul's LUT for SLog2 is for sgamut but it works well with sgamut3.cine too. I'm beginning to think I like that best. It is easy enough to work with and over exposing by 2 stops isn't difficult. You can use the curves only workflow but I think you lose some texture that way.

    EDITED TO ADD:

    It is the A7III, hard to go wrong I guess. My first Sony camera. My wife and I have been using Canon for 20 years, Panasonic GH4 also for a couple of years. Ditched all our Canon gear (a couple of XL1's an XL2, an HV30, a T2i, a couple of 6D bodies, a couple of 7DII bodies, a couple of C100II bodies and an 80D body) except for one 80D body and a couple of lenses and otherwise went all in on Sony. Couldn't be happier.
    Last edited by David Del Real; 03-18-2019 at 10:17 AM.


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    #40
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    Shooting slog or HLG does have one serious advantage over linear and that is the ability to deliver projects in glorious HDR.


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