A7S PicPro Settings

cpc said:
Both look pretty good. And seem to hold better than most of the vanilla s-log2 stuff we've seen. Probably due to the modified curve + better codec (4:2:2) + proper exposure.

Here's a quick modification. I like the original color, this is just a small skin range hue adjustment + blacks pulled down (open in a new tab/window for full size).
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Yeah that's a lot closer to her natural skin tone, she's quite pale.

@Terrence

I haven't compared Kholi's profile to standard yet, Kholi added a lot of saturation which does seem to make it easier to grade and could help the 8bit image from falling apart. I'll have to test that theory. It certainly made it easier for me to nail those 2 shots. :beer: S-log looks like crap but once you get it into Resolve with a bit of tweaking it can look amazing. My feeling so far is I can do more with the image than I can with the 5D raw but I have to do some side by side tests to confirm that.
 
Squig that first one might be crushed but it looks solid. I'm jealous that you guys have this camera haha. It's so clean.

The saturation I believe needs to happen in camera. While building it out I kept going between the Dreamcolor and then resolve > contrast > out and adding saturation afterward with an L/S versus pulling it out globally was always a bit thinner.


i think the other big issue with the settings right nows the blues are heavy. It's a toss up: personally I think catching/saturating blue in camera will help skin in compression but I didn't have the time to find out how little or how much is needed.

If someone has the time to go -1 on blue in the original settings I posted and see how that works in comparison to doing an H/S curve in R11 for blue that would be sick. I'm gonna guess the right setting is somewhere around +1 -1.
 
I haven't shot a lot of tests yet but so far I'm loving' the PP. I was dialling in the aperture and there was just a point where I thought "that's it". If that keeps happening it should be a breeze. I haven't denoised anything and probably wouldn't have to unless I screw up or can't throw enough light on something. The noise is a bit blue but it doesn't look too digital 'cause there's no fixed pattern, so glad I don't have to worry about VPN.

I think as long as the skin looks right and it's not introducing any banding then it's all good. Visioncolor and filmconvert can build LUTs to suit. You better come up with a name or it will forever be know as "Kholi's PP". Lulz.

Are you switching to have a look on a wider than sRGB gamut on the Dreamcolor?

I didn't add any saturation in post, I was mostly just pulling down the highlights with some very minor colour adjustments. I'm finding the generic log and S-log Impulz LUTs work best not the S-log 2. I went with a NEG LUT then corrections then filmconvert with the S55 H1? profile then a REC709 Impulz LUT. Too easy.

I don't think I'd want any less blue, I've been adding a touch of blue in the shadows but I haven't been doing a great job nailing my white balance. Once I shoot some daylight stuff I'll have a better idea how everything is sitting.
 
Koli your profile works great. The in camera saturation works perfect since all I did was brought footage into final cut x and brought down mid tones and everything thing just popped. I make minor adjustments to curve here and there but skin tones are looking great to me. None of the green gama looking skin I was seeing from stock settings.
 
I have been tweaking a version of MPP2 and it's coming along. I'll share some stills when I get a chance to shoot something worth sharing and nail it down a bit more.
 
Kholi said:
The saturation I believe needs to happen in camera.
Click to expand...
+1 for getting the saturation right in-camera. I've been doing it with Flaat since the old days of the 5D2. If you codec is not great (and anything 8-bit is not great) it's much better to bring it down in post than to push it up. Just make sure you don't clip the color channels and it will be ok.
 
vincent thomas said:
The skin look great. Are you confident you could use only one profile to handle all lighting situations?
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I Think I've cracked shooting SLOG - 2 now. You just need to ensure you are always exposing by +1stop, using in the inbuilt exposure meter (hovering from 0.7 -1.3 is okay). Then ensure that the white balance is set for the skintones ( as in what ever light source is hitting the skin) . Best way to do this is to switch all picture profiles off and gauge the temperature and dial it in.
 
Samuel, yep exactly. I never understood why it was wise to reduce saturation only to bring it back in (compressed codecs). Makes no sense to me unless you don't add it back. Even then, the files look richer when you start with more saturation and reduce. Totally different images.
 
Terrence Wilkins said:
I Think I've cracked shooting SLOG - 2 now. You just need to ensure you are always exposing by +1stop, using in the inbuilt exposure meter (hovering from 0.7 -1.3 is okay). Then ensure that the white balance is set for the skintones ( as in what ever light source is hitting the skin) . Best way to do this is to switch all picture profiles off and gauge the temperature and dial it in.
Click to expand...

Terrence, can you upload some test footage?
 
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Terrence Wilkins said:
I Think I've cracked shooting SLOG - 2 now. You just need to ensure you are always exposing by +1stop, using in the inbuilt exposure meter (hovering from 0.7 -1.3 is okay). Then ensure that the white balance is set for the skintones ( as in what ever light source is hitting the skin) . Best way to do this is to switch all picture profiles off and gauge the temperature and dial it in.
Click to expand...

So, basically set zebra to 70% and back off slightly from 70% on white? There has to be a simpler way to handle WB than this multistep procedure, but I don't immediately see it.
 
eddavid said:
squiig that looks so good!!!! WOW WOW WOW
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Thx. Wait till I put the Iscorama to work. It's got a magical filmic quality, the only other cheapish camera I've seen that comes close is the digi bolex. It's going to be great for projection. The dark shot is a look I'm working on for my feature, most of it is gonna be lit with kerosene lamps, or LEDs pretending to be kerosene lamps.
 
All I can say is I have officially decided to go with Kholi's PP for some pick up shots on a short. Thanks man! Here's a screengrab

zYj7BBf.jpg
 
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