a7s Picture Profile Compilation 2015

[Rishaar]

Let's just put everything into one place.
Please fill in with your own feedback, i'll update the thread as it goes. This is work in progress, with your help it should get interesting

UPDATE 2015/03/22: fellow user vladwolodarsky made a Google spreadsheet compiling all the profiles, great idea!
I will continue to update this list for the sake of the thread but recommend you check it out.
Here is the thread: http://www.dvxuser.com/V6/showthread.php?334824
Here is the google Spreadsheet: https://docs.google.com/spreadsheets...it?usp=sharing


(LIST UPDATED 2015/03/24)

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When Turning PP off
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Neutral (Contrast: -3 Saturation: 0 Sharpness: -3)
Some sample here : https://vimeo.com/106292534

Autumn Leaves (Contrast: -3 Saturation: 0 Sharpness: -3)
Some sample here : https://vimeo.com/116044343


-------------------------
PP using Cine Gammas (please share your experience)
-------------------------

PP5 Cine 1 (Full Range ~109 Ire)
For Studio/ good lighting conditions. Bring back levels to 16-235 in Premiere to get the full range.

PP6 Cine 2 (Broadcast Safe ~100 Ire)
For Studio/ good lighting conditions.

Using Cine 4 (Full Range ~109 Ire)
For Indoors, low light. Bring back levels to 16-235 in Premiere to get the full range.

Now, regarding color mode, Cinema and Pro seem to work best.

-----------------------------
Regarding PP using S-Log 2
-----------------------------

The consensus is that when shooting S-Log 2 on the a7s, you should over expose by 1.5~2 stops to avoid noise.
For more info regarding S-Log 2, you can read the excellent article by Alister Chapman here: (just don't get excited about the alleged 14stops)
http://www.xdcam-user.com/2014/08/e...-on-the-sony-a7s-part-one-gamma-and-exposure/

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SKINTONES
------------
Interesting thread here regarding Skin tones with pp off, cine 4 and s-log:
http://www.dvxuser.com/V6/showthread.php?334239-a7s-skin-tones-slog2-vs-pp-off-(shogun-4k)

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Custom PP:
------------
----------------------
Kholi's SLog2 PicPro
----------------------

Black Level: 0
Gamma Slog: 2
Black Gamma > Range: Middle , Level: -3
Knee > Mode: Auto , Auto Set > Max Point: 95 , Sensitivity: Mid
Colore Mode: Pro
Saturation: +8
Color Phase -2
Color Depth > R+1, G-1, B+2,, C-2, M-1, Y-3
Detail > Level, -5 Adjust > Mode; Manual, V/H Balance: -2, B/W Balance Type3, Limit: 0, Crispening:0, hi_light Detail: 0

White balance > Manual > Grid setting B 1 (one to the left)

3000-3600 = Tungsten
5000 - 5600 = Daylight
6100 - 7000 = late day or shade/shaded interiors in daylight

Thread: http://www.dvxuser.com/V6/showthread.php?326049-A7S-PicPro-Settings


-------------------------
Kholi's Cine2/Pro PicPro
-------------------------

Black Level: -11
Gamma : Cine2
Black Gamma > Range: Wide , Level: +7
Knee > Mode: Manual , Auto Set > Max Point: 95 , Sensitivity: Mid, Manual Set > Point: 105%, Slope: 0
Colore Mode: Pro
Saturation: +6
Color Phase -3
Color Depth > R+3, G-3, B+1,, C-3, M-2, Y-5
Detail > Level, -5 Adjust > Mode; Manual, V/H Balance: -2, B/W Balance Type3, Limit: 0, Crispening:0, hi_light Detail: 0

White balance > Manual > Grid setting B 1 (one to the left)

3000-3600 = Tungsten
5000 - 5600 = Daylight
6100 - 7000 = late day or shade/shaded interiors in daylight

Thread: http://www.dvxuser.com/V6/showthread.php?326049-A7S-PicPro-Settings

----------------------
Spreeni's modified version (to avoid greenish-yellow tones)
--------------------------------------

Black Level: -11
Gamma : Cine2
Black Gamma > Range: Wide , Level: +7
Knee > Mode: Manual , Auto Set > Max Point: 95 , Sensitivity: Mid, Manual Set > Point: 105%, Slope: 0
Colore Mode: Pro
Saturation: +6
Color Phase 0
Color Depth > R+3, G-3, B+1,, C-3, M-1, Y-0
Detail > Level, -5 Adjust > Mode; Manual, V/H Balance: -2, B/W Balance Type3, Limit: 0, Crispening:0, hi_light Detail: 0

White balance: No Grid setting needed !


--------------------
Samuel H's Flaat
--------------------

(Based on PP7)
Black Level: 0
Gamma : S-log 2
Black Gamma > Range: Midle , Level: 0
Knee > Mode:Auto , Auto Set > Max Point: 100 , Sensitivity: Mid, Manual Set > Point: 95%, Slope:+5
Color Mode: Cinema
Saturation: +15 (Bring down in post. If too much, dial down)
Color Depth > R+0, G+1, B+0, C+5, M-3, Y+0

Thread: http://www.dvxuser.com/V6/showthread.php?328495-Flaat-for-the-a7s/page3
Samuel H's great article/tests: http://www.similaar.com/foto/flaat-a7s/index.html


--------------------
Macgregor's Cine 4
--------------------

Replicate S-log 2 dynamic range while using normal iso values and avoiding noise.
Underexpose by 1 2/3 stops and bring back in post.

Black Level: +15
Gamma : Cine 4
Black Gamma > Range: Wide , Level: +7
Color Mode: Pro ?

The thread went cold, might need to dig more by yourself.
http://www.dvxuser.com/V6/showthread.php?327893-A7s-S-log2-too-noisy-Then-underexpose-cine4


--------------------
Steve's All-Around
--------------------

"I still throw a very slight secondary on top to warm up foliage greens, otherwise I find this to be very accurate and pleasing. Saturation can be easily toned down. I was sold on Cinema color for some time, but I was not thrilled with skin tones using that setting. This seems more versatile and easier to grade. Use Cine 1 Gamma with a -3 adjustment to the Black Gamma for flat lighting, but oddly it seems to effect skin tones a bit, with a slight magenta shift."

BLK LEV: 0
GAMMA: Cine 4
BLK GAMMA: Wide, +7
KNEE: Auto, 95%, Mid
COLOR MODE: Pro
SATURATION: +3
COLOR PHASE: -2
COLOR DEPTH: R: +5, G: +2, B: 0, C: +5, M: -3, Y: +7
DETAIL: -5


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AbelCine Scene files
---------------------

Details here, with pictures : http://blog.abelcine.com/2015/03/12/a7s-scene-files-from-abelcine/#more-38306

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JR45 Cine
-----------

"match to our original custom look for the VariCam,pleasing colors and good dynamic range,this profile is not so flat that you need a lot of post correction. "

Gamma: Cine 1
Color Mode: Still
Saturation: -2
Color Depth: R: +2 , C: -4

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JR45video
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"match to our original custom look for the VariCam, nice colors and a good amount of contrast, which provides a nice fall-off in the highlights, but with enough contrast so that it doesn’t require much post correction. "

Gamma: Cine 3
Color Mode: Movie
Saturation: -1
Color Phase: +1
Color Depth: G: +2 , Y: +4

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AB Norm
-----------

"colorful look with pleasing skin tone reproduction and plenty of contrast. "

Gamma: Cine 1
Color Mode: Movie
Saturation: +1
Color Depth: R: +2

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AB HIGHSAT
-----------

"plenty of color saturation "

Gamma: Cine 1
Color Mode: ITU709 Matrix
Saturation: +2
Color Depth: R: +3


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CANON DSLR Look
---------------------

BLK LEV: 7
GAMMA: Movie
BLK GAMMA: Middle, 0
KNEE: Manual, 95%
COLOR MODE: Pro
SATURATION: -8
COLOR PHASE: -3
COLOR DEPTH: R: 0, G: 0, B: 0, C: 0, M: 0, Y: 0
Detail > Level, 0 Adjust > Mode; auto, V/H Balance: 0, B/W Balance Type3, Limit: 7, Crispening:0, hi_light Detail: 0

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CANON DSLR Tapp
---------------------

BLK LEV: 1
GAMMA: Movie
BLK GAMMA: wide, 7
KNEE: Manual, 95%
COLOR MODE: Pro
SATURATION: 3
COLOR PHASE: 0
COLOR DEPTH: R: 3, G: -3, B: 1, C: -3, M: -1, Y: 0
Detail > Level, 0 Adjust > Mode; auto, V/H Balance: 0, B/W Balance Type3, Limit: 7, Crispening:0, hi_light Detail: 0

 

[spreeni]

I'm a fan of Kholi's Cine2 settings, because of the nice skintones out-of-the-cam. I've changed the settings a bit to avoid this (little bit) greenish yellow-tones. So here's my modified profile:

Black Level: -11
Gamma : Cine2
Black Gamma > Range: Wide , Level: +7
Knee > Mode: Manual , Auto Set > Max Point: 95 , Sensitivity: Mid, Manual Set > Point: 105%, Slope: 0
Colore Mode: Pro
Saturation: +6
Color Phase 0
Color Depth > R+3, G-3, B+1,, C-3, M-1, Y-0
Detail > Level, -5 Adjust > Mode; Manual, V/H Balance: -2, B/W Balance Type3, Limit: 0, Crispening:0, hi_light Detail: 0

White balance: No Grid setting needed !

I'm not so sure if red colors are a bit overexposed in this settings, I have to check this out furthermore. However, this is very nice out-of-the-cam and is very good for grading, too.

 

[caseywilsondp]

it would be great if we could accompany a standard-ish picture to each PP mentioned so people could see how it reacts.

 

[Rishaar]

thank Spreeni, i'll give it a try !

 

[Rishaar]

it would be great if we could accompany a standard-ish picture to each PP mentioned so people could see how it reacts.

You're right . I did some test couple days ago with all the cutomed PP, i'll try to upload the pics.

 

[arturochu]

i just shot a whole short film in 4k with Macgregor's Cine 4, daillies look nice, i'll post some cc stills when i can, really like the dynamic range with the low isos.

also i shot another short film with cine 2 with +15 saturation, cc right now, i'll also post some stills.

 

[Rishaar]

i just shot a whole short film in 4k with Macgregor's Cine 4, daillies look nice, i'll post some cc stills when i can, really like the dynamic range with the low isos.

also i shot another short film with cine 2 with +15 saturation, cc right now, i'll also post some stills.

Thanks ! Can't wait to see it

 

[Patrik]

Have any of you guys noticed that there is less dynamic range in the highlights using Kholi's Slog2 PicPro? I noticed this when I was shooting a test outside a snowy day. First I tried Samuels Flaat Profile, and then when I switched to Kholis Slog2 PicPro, I noticed by looking at the zebras that the higlights in the snow was blowing out... Any ideas what may be causing this?

Cheers //Pat

 

[jurny]

they may look blown out but they are still there. that's slog's magic.

 

[FRP]

Here are some screen capture images of Kholi's PP (the one with Cine2 and Pro color). Straight out of the camera. Shot in 1080p

 

[Patrik]

they may look blown out but they are still there. that's slog's magic.

I have my Zebras set to 100+, doesn't it mean that every signal above 100 IRE contains no usable information? It's just white, nothing else?. Just curious why one profile show zebras were the other doesn't, since they're both shooting S-log2?

 

[nyvz]

No, Slog2 goes all the way up to ~107 IRE. There is almost a stop of highlight DR over 100 IRE, so just imagine the stuff from 100-107 is not gone but is going to be in your soft clip range so very low contrast and not easily discernible detail.

Just like with most gammas besides CINE2, make sure you are using a workflow that preserves superwhites or that range will get hard clipped out and your highlights will look pretty nasty. LUTs designed for SLOG2 should generally make good use of that range and bring it down to <100IRE, but I see people grading SLOG2 without LUTs clip their highlights hard and harshly all the time...

 

[Samuel H]

Unlike other Sony stuff (my NEX-5N clips), slog2 XAVC-S footage from the a7S loads fine into Premiere, with the signal topping at 100 IRE and no need to bring back superwhites "by hand".

 

[nyvz]

Oh yeah I think you are right, I've been so used to Slog2 on my FS700 I forgot they are a bit different.

 

[Samuel H]

I'm not sure but I think it does go all the way to 109, but Premiere brings it down automatically, whereas in Cine4 and with my NEX-5N I'd have to do it by hand.

 

[arturochu]

Color corrected stills from a shortfilm where i was the dp, cine 2 with cine gamma and +5 saturation.

 

[Patrik]

No, Slog2 goes all the way up to ~107 IRE. There is almost a stop of highlight DR over 100 IRE, so just imagine the stuff from 100-107 is not gone but is going to be in your soft clip range so very low contrast and not easily discernible detail.

Just like with most gammas besides CINE2, make sure you are using a workflow that preserves superwhites or that range will get hard clipped out and your highlights will look pretty nasty. LUTs designed for SLOG2 should generally make good use of that range and bring it down to <100IRE, but I see people grading SLOG2 without LUTs clip their highlights hard and harshly all the time...

Unlike other Sony stuff (my NEX-5N clips), slog2 XAVC-S footage from the a7S loads fine into Premiere, with the signal topping at 100 IRE and no need to bring back superwhites "by hand".

Oh yeah I think you are right, I've been so used to Slog2 on my FS700 I forgot they are a bit different.

I'm not sure but I think it does go all the way to 109, but Premiere brings it down automatically, whereas in Cine4 and with my NEX-5N I'd have to do it by hand.

I do believe the fact that S-Log2 hold's on to highlights very well, but my question is: Why did Kholi's PicPro show zebras in the snow, were Samuels Flaat Profile didn't?
I used the exact same exposure in both examples, and the conditions were identical, shot within 30 seconds from another, an overcast day... There were no sun that changed the lighting, is was identical. Exposed +2 stops according to the internal light meter in the A7s.

My idea is that Samuels Flaat profile holds on better to the highlights than Kholi's, otherwise the zebras would have been identical on both profiles since the exposure was identical, right?

 

[caseywilsondp]

Color corrected stills from a shortfilm where i was the dp, cine 2 with cine gamma and +5 saturation.

View attachment 98277

this shot is awesome btw

 

[Samuel H]

^ It's the one I liked the least, because of the nasty highlight. So great that you'd pick that one XD

@Patrick: what gamma curve are you using with Kholi's PP? If it's not slog2, then yes, it will clip the highlights sooner (but it may dig deeper into the shadows, if it's based on CINE4).

 

[nyvz]

My idea is that Samuels Flaat profile holds on better to the highlights than Kholi's, otherwise the zebras would have been identical on both profiles since the exposure was identical, right?

What were your zebras at? And your knee?