A7s sample footage

squig said:
I
Did you come across a way to reduce the matte gauze while you were fiddling with your PP?
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Why did Sony name them PP? Couldn't they just put PS or something?

SLog2 Gamma is just going to be like that, there's not much you can do with the settings to break out of the contrast setting. Hate to say it, in my experience the *best images just want you to take some responsibility in processing afterward... that includes film yeah?

"gauze"
Cn.jpg

less "gauze"
Cy.jpg




*F35ish Alexaish, these cameras are extremely easy to process without LUTs. I don't think the A7S is that far off just using the Slog2 Gamma and another Color Matrix.
 
Kholi said:
Why did Sony name them PP? Couldn't they just put PS or something?
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Lulz. Could be worse believe me.

Still heaps of gauze there. Did you notice a big drop in dynamic range in the gauze free profiles? I like the gauze but I'd also like all that DR without the gauze too for an edgier look. It's not very horror is it.
 
Well there's also diffusion on the lens, Black Satin 1, forgot to mention that.

The gauze you're talking about is literally just contrast / micro contrast. Do it in a curve.
 
Kholi said:
Well there's also diffusion on the lens, Black Satin 1, forgot to mention that.
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Duh.

There's lens flare in little humans face which doesn't help on that particular shot. I'll see if I can tune it out on something contrasty. Interestingly I got the same gauze shooting a raw still, S-Log was activated but a PP shouldn't affect a raw file? I'll try without S-Log.
 
squig, would you kindly define 'gauze' in the context of these images? The word conjurs thoughts of bandages :smile:, or are you making reference to a hatched or material like pattern in the image, particularly on skin? Thanks.
 
Christopher Barry said:
squig, would you kindly define 'gauze' in the context of these images? The word conjurs thoughts of bandages, or are you making reference to a hatched or material like pattern in the image, particularly on skin? Thanks.
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"I think that so much of what we do as artists is about laying that “gauze” over the world that we’re creating. And even if you’re shooting a realistic type movie where it’s supposed to feel real and present, you’ve still gotta have that gauze. It’s the gauze that takes it from something just shot with a camcorder to a cinematic experience" .Shane Hurlbut

In this case I'm talking about a kind of diffusion that S-Log generates specifically.
 
squig, got it, thanks! Now I see the context of the A/B difference between Kholi's two frames above on this page. I can now dispel visions of Shaggy and Scooby-Doo being chased through catacombs by a supposed deceased human wrapped in gauze. :D
 
Kids are at school so it's still life for now. K-Log (like that?) +6 Sat, +1 ETTR, custom s-curve 0.03 gamma, 1.08 gain, 43 saturation. No LUTs added. Haven't bothered to tweak each shot individually. As you can see they're all punchy and there's no noise (not denoised). Dynamic range still huge, they look like 5D raw stills to me, better mb. The only issue is the highlights softening around the tree branches, hoping with a bit of PP tweaking and 4k it won't be an issue.

ZjnpWb6.png


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PS They're a bit dark but you get the idea.
 
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A7s K-Log +4 Sat, +1 ETTR (or a bit lower) custom s-curve no LUTs or other adjustments.

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5D MK3 raw neutral with ACR adjustments

tCECLZc.png
 
squig, the FF draws me into all the detail. The later roof and sky shot has much better recovery, we now have a deep coloured sky to view. Is this part of settings/exposure change, or the benefit of shooting later in the afternoon, narrowing the DR in the shot? Intriguing camera, the a7S.
 
Christopher Barry said:
squig, the FF draws me into all the detail. The later roof and sky shot has much better recovery, we now have a deep coloured sky to view. Is this part of settings/exposure change, or the benefit of shooting later in the afternoon, narrowing the DR in the shot? Intriguing camera, the a7S.
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It was about an hour later and the clouds cleared a bit. The first shot I didn't individually grade, that whole series was the same s-curve. The latter shot I graded. The first shot was a little too hot, I only had a 3 stop ND on, in the latter shot I dialled up the shutter speed a bit. So with the right ND I could of got more detail in the sky in the first shot. It's taken me a couple of days to find my feet, it's been a long time since I've shot with such a flat profile, and the colours are very different to the Canons, much less magenta, with much more natural looking greens, more like a Nikon. I never liked that magenta on the Canons, people like it for skin but it tends to go orange.
 
Went out a bought me a A7s today :) I'm gone have to find a way to live with that RS, cause the picture is just to good to pass up. Love all the examples and custom profiles!
 
dfreerider said:
Went out a bought me a A7s today :) I'm gone have to find a way to live with that RS, cause the picture is just to good to pass up. Love all the examples and custom profiles!
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Remember the rolling shutter in APS-C mode is under 20ms, a third less than full frame. APS-C is a little softer but still very resolute. 60p in full frame is really bad. 60p in APS-C is pretty good.
 
squig, thanks for the info. You mention magenta in the a7S. Your footage displays the least magenta, compared to a few samples I have observed. Your little human frame, applying Colorista Auto (White) Balance taken from a white point in the window area, it mostly pulled some of the blue/aqua out of only the shadows. Effectively adding orange/red, if only a somewhat infinitesimal amount, when looking at the Auto Balance resulting swatch colour, you can not perceive the change. For me, the change put WB and skin tone mostly where I wanted. Using the Colourista Skin Overlay tool, the slightest nudge of the Orange hue point towards red, the Colorista skin marker peaked. This acts like a qualifer. Such an adjustment was really at the point of any minor adjustment was really a personal choice.

Colorista_Auto_Balance_Result_squig.jpg

I was about to check myself into the 'Welcome to MindHead' clinic a few (daze) days ago, had a break through recently, feel comfortable I am reasonably calibrated, or can discern a 'look' to a neutral colour correction, if that can be said or even defined. Please keep posting frames, thanks. These are great, and therapy.

dfreerider, congratulations!
 
Recording in 4k for 60p full frame should solve the issue no?
At least, for the 120fps , rolling shutter and APS-C , recording in 4K will make this camera even better



Christopher Barry said:
ok. A while ago, stacking 3 ND's to reach 8-stops and the wrong IR cut on top of that, image was suffering. Having all the even numbered stop of the ProND's, hoping to reduce the need to stack ND + IR Cut in the future. Might need to consider the UV/IR Cut, instead of using the ProND2 losing a stop. 4x5.65's have some big gaps to fill above the IRND 1.2 (hot mirror) to get to 10-stop range, grrrr...
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squig said:
Remember the rolling shutter in APS-C mode is under 20ms, a third less than full frame. APS-C is a little softer but still very resolute. 60p in full frame is really bad. 60p in APS-C is pretty good.
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It's the Canons that are heavy on magenta, the A7s is fine. A lot of people have been adding LUTs that have a lot of magenta, Osirus m31 for instance. I started using LUTs but now I'm just building custom curves in R11 and adding some filmconvert to finish off the look. I create a fairly neutral s-curve that the filmconvert default profile likes. Won't be long before there's A7s profiles and LUTs.
 
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